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OF  THIS  BOOK 
E  HUNDRED  AND  TWENTY-FIVE  COPIES 
HAVE  BEEN  PRINTED  ON  SPECIAL 
O.    W.    HAND-MADE  PAPER 
AND  TWELVE  COPIES  ON 
IMPERIAL  JAPAN 
PAPER 


CATALOGUE  OF  THE 
ENGRAVINGS 
ISSUED  BY  THE 
SOCIETY  OF  ICONOPHILES 


CATALOGUE 

OF 

THE  ENGRAVINGS 

ISSUED  BY 

THE  SOCIETY  OF 
ICONOPHILES 

OF  THE  CITY  OF  NEW  YORK 

MDCCCXCIV— MCMVIII 
COMPILED  BY 

RICHARD  HOE  LAWRENCE 

WITH  AN  INTRODUCTION  BY 

WILLIAM    LORING  ANDREWS 


NEW  YORK 
ANNO    DOMINI  MCMVIII 


COPYRIGHT,  1908, 
BY  THE  SOCIETY  OF  ICONOPHILES 


CONTENTS 

PAGE 

Introduction,  by  William  Loring  Andrews  -       -       -  13 

Catalogue  of  the  Engravings  with  Historical  Notes   -  23 

Autobiography  of  Edwin  Davis  French  69 

List  of  Members  --------  79 

Index   83 


LIST  OF  ILLUSTRATIONS 

PAGE 

I    Certificate  of  Membership   6 

II    The  Tombs   25 

I I I  Poe's  Cottage   33 

IV  Portrait  of  Isaiah  Thomas   35 

V    Portrait  of  Washington     -----  39 

VI    City  Hall,  taken  from  Wall  Street    -       -       -  43 

VII    Portrait  of  Joseph  Rodman  Drake  53 

VIII    New  York  from  Brooklyn    -----  55 

IX    William  Street   59 

X    New  York  in  1775       -   61 


INTRODUCTION 


Mrs.  Martha  J.  Lamb,  writing  in  1876,  tells  us  that  "clubs  had  long  been 
one  of  the  features  of  New  York  life,  but  prior  to  1825  they  were  small  and 
attained  no  special  publicity,  nor  did  they  multiply  rapidly  for  another 
decade."  "Notwithstanding," — she  continues, — "New  York  is  now  the 
second  city  in  the  world  (London  standing  first),  in  the  number  and  mem- 
bership of  its  clubs,  there  being  in  operation  within  the  city  limits  up- 
wards of  one  hundred,  with  a  membership  in  the  aggregate  of  not  less  than 
fifty  thousand."*  This  enumeration  must  have  included,  we  judge,  every 
sort  and  kind  of  an  organization  in  the  city  of  a  social,  civic,  commercial, 
scientific  or  political  character,  most  of  which  were  of  an  ephemeral  nature, 
and  long  since  ceased  to  exist.  How  short-lived  the  great  majority  of 
them  were,  is  shown  by  the  fact  that  only  three  strictly  social  clubs  are 
now  in  existence  that  were  established  before  the  civil  war;  namely,  the 
Union  Club,  founded  in  1836,  the  Century  Association  in  1847,  an<^  tne 
Harmonie  Club,  organized  in  1852. 

The  Union  League  Club — organized  as  a  purely  patriotic  and  political 
association,  but  now  largely  social  in  character — which  is  next  in  longevity 
to  the  afore-mentioned  was  founded  in  1863;  the  University  Club  in  1865. 
The  last  named,  however,  failed  at  first  to  receive  the  support  and  en- 

*The  first  Club  house  erected  on  Manhattan  Island  of  which  we  have  a  picture  is 
the  "Belvedere."  A  facsimile  of  the  engraving  of  this  building  in  the  New  York  Maga- 
zine for  August,  1794,  forms  No.  9,  Series  V,  of  the  publications  of  the  Society. 

'3 


INTRODUCTION 


couragement  of  the  class  for  whose  benefit  it  was  intended,  and  for  a  num- 
ber of  years  the  breath  of  life  was  kept  in  its  body  corporate  by  the  small 
group  of  college  graduates  who  inaugurated  the  movement.  They  resolved 
themselves  into  the  University  Dining  Club,  which  is  still  in  existence,  or 
was  until  quite  recently,  and  thus  preserved  the  organization  of  the  Uni- 
versity Club  as  we  find  it  to-day,  domiciled  in  its  beautiful  building  on 
the  corner  of  Fifty-fourth  Street  and  Fifth  Avenue. 

The  Grolier  Club  of  New  York  had  the  reverse  of  this  experience. 
Limited  at  the  outset  to  fifteen  members,  it  at  once  became  apparent  that 
room  for  an  association  of  this  character  existed  and  it  speedily  outgrew 
the  designs  and  expectations  of  its  founders,  both  as  to  its  scope  and  the 
limit  of  membership.  The  Society  of  Iconophiles  in  its  humbler  and  nar- 
rower sphere  has  encountered  similar  good  fortune.  It  originated  in  what 
was  felt  at  the  time  by  some,  at  least,  of  its  founders  to  be  a  passing  fancy 
that  in  a  year  or  so  would  exhaust  itself,  and  the  gift  of  continuance  that 
the  Society  has  displayed  has  been  to  these  "doubting  Thomases"  a  source 
of  wonderment  as  well  as  of  gratification.  Fifteen  years  have  now  passed 
over  its  head;  it  has  outgrown  its  experimental  stage,  and  the  interest  of 
its  members,  and  of  a  (necessarily  limited)  portion  of  the  community  in 
its  work,  appears  still  to  be  unabated. 

To  fix  with  aforethought  the  proper  time  and  season  in  which  to  in- 
augurate a  movement  of  this  character  is  a  sign  of  good  judgment;  to  stum- 
ble upon  it  unwittingly,  as  apparently  did  the  founders  of  both  the  Grolier 
Club  and  the  Society  of  Iconophiles,  may  be  regarded  as  a  stroke  of  blind 
good  fortune. 

In  the  year  1893,  Mr.  Edwin  Davis  French,  whose  occupation  for  nearly 
a  quarter  of  a  century  previously,  had  been  that  of  an  engraver  upon  silver, 
and  who  was  for  many  years  in  charge  of  the  engraving  department  of  the 
Whiting  Company,  turned  his  attention  to  the  designing  and  engraving  of 
book-plates,  which  had  then  just  begun  to  acquire  popularity  and  to  become 
a  fad,  not  only  among  book-collectors  but  with  many  who  made  slight  or 
no  pretentions  to  that  title. 

The  following  year  Mr.  French  was  commissioned  by  the  newly  fledged 
Society  of  Iconophiles  to  draw  and  engrave  on  copper,  a  series  of  views  of 

14 


INTRODUCTION 


buildings  of  interest  in  the  city  of  New  York,  before  the  rapid  march  of  im- 
provement should  sweep  away  these  few  remaining  relics  of  the  olden  time.* 
It  was  a  modest  attempt  to  imitate  the  publications  of  Bourne  and  Pea- 
body,  issued  in  the  early  part  of  the  last  century,  which  are  now  so  highly 
prized  by  all  lovers  and  collectors  of  pictures  of  old  New  York,  for  the 
beauty  of  the  engravings  as  well  as  for  their  historic  interest. 

The  production  of  this  series  of  views  was  all  that  was  contemplated 
by  the  writer  when,  one  mid-winter's  day,  he  journeyed  to  Wall  Street  and 
submitted  the  project  he  had  in  mind  to  a  few  of  his  bibliomaniacal  friends 
whom  he  chanced  to  meet;  but  he  found  that  he  had  under-estimated  their 
civic  love  and  pride,  and  failed  to  fitly  measure  the  strength  of  their  print- 
collecting  proclivities.  They  one  and  all  heartily  seconded  his  proposal,  and 
the  outcome  was  the  formation  of  The  Society  of  Iconophiles,  an  associa- 
tion which  probably  may  claim  the  doubtful  distinction  of  having  the 
most  limited  membership  of  any  book  or  print  club  now  in  existence  in 
this  city.  The  Bradford  Club,  however,  which  flourished  for  a  few  years 
in  the  middle  of  the  last  century,  was  a  still  closer  corporation,  only  five 
names  being  inscribed  upon  its  roll  of  members.f 

Mindful  of  the  Dutch  origin  of  their  city,  the  Iconophiles  adopted  for 
the  seal  of  their  society,  at  the  suggestion  of  the  late  Mr.  Edwin  B.  Holden, 
a  windmill  with  the  legend  Gott  schut^e  die  Marke.  This  seal  appears  upon 
the  covers  or  wrappers  of  all  the  Society's  publications  except  the  Pennell 
lithographs,  until  1906,  when  Mr.  Sidney  L.  Smith  engraved  a  new  seal, 
which  was  also  designed  by  Mr.  Holden. 

The  motto  of  the  Society,  Pro  Urbis  Amore,  was  suggested  by  Mr. 
Beverly  Chew.  It  was  not  adopted  until  1 901,  and  was  first  used  upon  the 
certificate  of  membership  designed  and  engraved  by  Mr.  French. 

The  six  original  members  of  the  Society  were,  in  alphabetical  order, 
William  L.  Andrews,  Edward  H.  Bierstadt,  Beverly  Chew,  Edwin  B.  Hol- 

*Four  of  these  buildings  have  already  disappeared. 

fThe  five  members  of  the  Bradford  Club  were  J.  Carson  Brevoort,  Wm.  Menzies, 
Charles  Congden,  John  B.  Moreau  and  Charles  C.  Moreau.  Only  eight  books  were  pub- 
lished by  it,  the  editions  limited  to  125  copies,  75  for  subscribers  and  50  Club  copies  for 
private  distribution  only  and  not  to  be  sold. 

'5 


INTRODUCTION 


den,  Richard  H.  Lawrence  and  Marshall  C.  LefTerts.  To  these  were  added 
subsequently:  Samuel  P.  Avery,  Charles  B.  Foote,  William  F.  Havemeyer 
and  J.  Harsen  Purdy. 

This  completed  the  active  membership  of  the  Society,  the  limit  of 
which  has  never  been  extended  despite  the  efforts  of  some  of  its  members 
from  time  to  time  to  have  the  number  increased. 

This  little  circle  remained  unbroken  for  less  than  three  years.  The 
first  to  pass  out  from  it  into  that  far  country  from  which  no  traveller  re- 
turns, was  Edward  Hale  Bierstadt,  one  of  the  most  active  and  interested 
of  its  members,  who  died  December  19,  1896.* 

On  September  20,  1900,  the  necrology  of  the  Society  was  still  further 
lengthened  by  the  death  of  the  ardent  collector  of  first  editions  of  English 
and  American  authors,  Charles  B.  Foote,f  (to  whom  Edmund  Gosse  dedi- 
cated his  Gossip  in  a  Library  published  in  1892),  and  on  August  11,  1904, 
by  the  demise  of  Mr.  Samuel  P.  Avery,  the  eldest,  but  one  of  the  most  active 
and  helpful  of  its  members,  as  it  was  ever  his  wont  to  be  in  the  many  public 
institutions  of  the  city  with  which  he  was  connected  during  his  long  and 
useful  life,  and  to  which  he  contributed  unstintedly  of  his  time  and  means. 

Messrs.  Junius  S.  Morgan,  Tracy  Dows  and  R.  T.  H.  Halsey  were  elected 
to  fill  these  vacancies  as  they  severally  occurred. 

On  June  8,  1906,  Mr.  Edwin  B.  Holden,  one  of  the  six  original  members 
of  the  Society,  died  at  his  residence  on  Riverside  Drive.  No  member  of 
the  Society  had  its  interests  more  at  heart  or  devoted  more  time  or  atten- 

*Mr.  Bierstadt  was  one  of  the  most  patient  and  painstaking  of  bibliographers.  The 
preparation  of  the  Bibliography  of  English  Literature  in  four  volumes  (1893-1905),  prob- 
ably involved  more  labor  and  study  than  any  other  of  the  publications  of  the  Grolier 
Club.  The  Committee  first  placed  in. charge  of  this  work  was  composed  of  Messrs. 
Lefferts,  Chew,  Bierstadt  and  Pierson,  and  most  of  the  proofs  of  the  first  volume  (all 
that  was  completed  before  Mr.  Bierstadt's  death)  were  read  and  corrected  by  Mr.  Bier- 
stadt, while  a  large  proportion  of  the  three  subsequent  volumes  was  the  result  of  his 
labors. 

•fMr.  Foote  enjoyed  the  friendship  of,  and  corresponded  with,  a  number  of  literary 
men  here  and  in  England.  E.  C.  Stedman  and  Lawrence  Hutton,  Edmund  Gosse  and 
Austin  Dobson  among  them.  To  Mr.  Foote  and  Mr.  Beverly  Chew  jointly  Mr.  Hutton 
dedicated  his  book  entitled  From  the  Books  of  Lawrence  Hutton. 

16 


INTRODUCTION 


tion  to  the  furtherance  of  the  objects  it  had  in  view  than  Mr.  Holden;  but 
more  to  be  treasured  is  our  remembrance  of  him  as  a  friend  and  companion. 
As  characteristic  of  the  man,  his  brother  Iconophiles  sadly  recall  the  fact 
that  the  annual  meeting  of  the  Society  for  the  year  1906  was  to  have  been 
held,  by  invitation,  at  his  home,  but  finding  at  the  last  moment  that  his 
health  would  not  permit  him  to  carry  out  this  intention,  he  still  insisted 
upon  being  our  host  by  proxy  at  the  Players  Club. 

The  vacancy  caused  by  Mr.  Holden's  death  was  filled  by  the  election 
of  Mr.  Charles  A.  Munn. 

The  fifty  to  seventy-five  impressions  of  the  Society's  publications 
printed  in  excess  of  the  number  allotted  to  members  were,  until  1905,  dis- 
posed of  through  the  booksellers,  Messrs.  J.  O.  Wright  &  Co.  and  Dodd 
Mead  &  Co.,  but  in  April  of  that  year  it  was  considered  advisable,  in  order 
to  secure  a  more  direct  and  economical  distribution  of  the  edition,  to  add 
to  the  ten  active  members  fifty  subscribing  or  associate  members,  and  the 
following  circular  was  issued  in  the  month  of  May: 

The  Society  of  Iconophiles,  having  completed  the  first  decade  of 
its  existence,  has  decided  to  inaugurate  a  new  method  of  distributing  its 
publications. 

The  Society  has  already  published  the  following  prints: 

Series      I    Views  in  New  York: 

Twelve  engravings  on  copper  by  E.  D.  French. 

Series     II    Picturesque  New  York: 

Twelve  lithographs  by  C.  F.  W.  Mielatz. 

Series   III    Printers  and  Engravers: 

Six  Portraits  engraved  on  copper  by  F.  S.  King. 

Series    IV    Men  and  Events  connected  with  New  York: 

Six  portraits  and  views  engraved  on  copper  by  F.  S.  King. 

Series     V    Facsimiles  of  early  engraved  views  of  New  York: 

The  prints  re-engraved  on  copper  by  S.  L.  Smith. 

Series    VI    Early  New  York  Authors: 

Portraits  engraved  on  copper  by  F.  S.  King. 

Series  VII    Views  of  New  York  on  Staffordshire  Pottery: 
Engraved  in  aquatint  by  C.  F.  W.  Mielatz. 

>7 


INTRODUCTION 


The  next  series  will  be  a  set  of  twelve  lithographs  by  Joseph  Pennell, 
in  which  he  gives  his  impressions  of  recent  architectural  developments  in 
New  York. 

It  is  the  intention  of  the  Society  to  continue  the  issue  of  engraved  por- 
traits and  views  connected  with  the  history  of  New  York,  though  a  depar- 
ture from  subjects  having  a  strictly  local  interest  may  sometimes  be  made. 

The  publications  of  the  Society  have  hitherto  been  disposed  of  through 
dealers.  It  is  now  proposed  to  change  the  plan  of  distribution  on  the  lines 
given  below: 

The  Active  Membership  of  the  Society  shall  continue  as  at  present. 
In  it  shall  rest  the  sole  proprietorship  in  the  assets  of  the  Society,  and  it 
alone  shall  be  liable  for  all  debts  or  obligations  contracted  by  the  Society. 

The  Active  Members  shall  continue  to  have  the  same  management 
of  the  Society  and  privileges  as  heretofore. 

There  shall  be  fifty  Associate  or  Subscribing  Members,  chosen  by  the 
Active  Members,  who  shall  pay  to  the  Society  an  enrollment  fee  of  ten 
dollars  each.    There  shall  be  no  annual  dues. 

Associate  Members  shall  have  the  privilege  of  subscribing  to  one  copy 
of  each  publication,  at  a  price  to  be  fixed  as  near  cost  as  circumstance  may 
warrant. 

The  failure  of  an  Associate  Member  to  subscribe  to  a  publication  of  the 
Society  may  be  construed  as  a  resignation  from  the  Associate  Membership. 

The  publications  of  the  Society  will,  as  a  rule,  be  limited  to  seventy- 
five  copies. 

The  first  series  of  prints  issued  under  this  new  arrangement  were  the 
12  lithographs  by  Joseph  Pennell  of  the  towering  buildings  in  the  city 
commonly  called  "skyscrapers." 

The  fifty  Associate  or  Subscribing  members  were  quickly  secured.  A 
few  changes  have  occurred  among  them  since  the  membership  was  formed, 
but  the  roll  is  now  full  and  is  supplemented  by  a  waiting  list,  all  of  which 
is  satisfactory  evidence  that  there  are  a  sufficient  number  of  New  York 
Antiquarians  and  Collectors  ready  to  support  the  Society  in  the  carrying 
out  of  the  object  for  which  it  was  formed,  namely  the  issue  from  time  to 

18 


INTRODUCTION 


time  of  prints  illustrating  old  and  modern  New  York,  and  the  encourage- 
ment of  the  fast  declining  art  of  pure  hand  engraving. 

In  the  fifteen  years  of  its  existence  the  Society  has  published  seventy- 
eight  engravings  and  the  following  books: 

Washington's  Reception  by  the  Ladies  of  Trenton  together  with  the 
Chorus  sung  as  he  passed  under  the  triumphal  arch  raised  on  the  Bridge 
over  the  Assunpink  [or  Assanpinck]  April  21,  1789.  New  York,  1903, 
quarto.    104  copies  printed. 

An  Index  to  the  Illustrations  in  the  Manuals  of  the  Corporation  of  the 
City  of  New  York,  1841-1870.  New  York  1906,  Octavo.  250  copies 
printed. 

In  these  two  instances  only,  and  in  the  present  publication,  has  the 
Society  wandered  away  from  its  own  particular  field.  It  is  a  Society  for 
publishing  prints,  not  books,  and  its  members  believe  in  the  wisdom  of  the 
old  saying,  "Let  every  shoemaker  stick  to  his  last." 

None  of  the  issues  of  the  Society,  except  one  lettered  impression  and 
the  trial  proofs  of  each  engraving  remains  in  its  possession. 

The  Society  of  Iconophiles  has  always  been  an  harmonious  body  of 
men.  Few  and  unimportant  are  the  differences  of  opinion  that  have  arisen 
among  them,  and  the  Society  has  never  changed  the  occupants  of  its  official 
positions  of  which  there  exist  but  two:  that  of  President,  and  the  dual  one 
of  Secretary  and  Treasurer.  It  has  no  rent  or  salaries  to  pay,  and  the  an- 
nual meeting,  the  only  regular  one  it  holds,  has  generally  been  called  to 
order  around  the  hospitable  board  of  one  or  another  of  its  members,  a  pleas- 
ant prandial  custom  which  has  been  found  to  be  an  effective  way  in  which 
to  secure  a  full  attendance  of  the  members,  and  to  revive  and  stimulate 
their  interest  in  the  work  of  the  Society. 

To  say  that  love  of  home  is  one  of  the  strongest  of  human  passions  is 
to  utter  a  very  trite  remark.  Even  the  fugitive  from  justice,  with  a  price 
set  upon  his  head,  cannot  always  resist  its  influence  and  stealthily  returns 
to  his  old  surroundings  at  the  risk  of  his  liberty,  perchance  his  life.  Home- 
sickness is  a  mental  ailment  that  has  been  prevalent  since  the  dawn  of 

19 


INTRODUCTION 


creation,  and  men  of  every  age  and  clime  join  in  the  plaint  of  Goldsmith's 
Traveller: 

"Where  'er  I  roam  whatever  lands  to  see 
My  heart  untravell'd  fondly  turns  to  thee 
Still  to  my  brother  turns,  with  ceaseless  pain, 
And  drags  at  each  remove  a  lengthening  chain." 

Hammerfest  in  Norway  is  the  most  northerly  civilized  town  on  the 
face  of  the  earth.  For  one  half  the  year  darkness,  snow,  hail  and  bitter 
cold  are  the  portion  of  its  inhabitants,  and  yet  they  tell  us  of  one  of  their 
number  who  wandered  far  away,  and  for  two  years  sojourned  in  milder 
climes.  Then  he  returned  and  told  his  old  friends  and  neighbors  that 
Hammerfest  was  good  enough  for  him. 

The  happiest  hour  in  the  experience  of  every  normally  constituted 
Knickerbocker  traveller,  is  the  one  that  strikes,  as  the  brave  ship  which 
bears  him  homeward  ploughs  the  waters  of  his  own  beautiful  lower  bay  and 
lays  its  course  for  the  "Narrows"  through  which  Henry  Hudson  piloted 
the  "Half  Moon"  three  centuries  ago.  Glad  as  he  may  have  been  months 
before  to  turn  his  face  towards  the  open  sea,  and  much  as  he  may  have  seen 
and  enjoyed  in  his  wanderings  over  the  earth,  he  is  only  too  willing  to  ad- 
mit that  the  home-coming  is  the  best  and  sweetest  part  of  his  journey.  It 
is  worth  while  to  go  away  from  home  just  to  know  the  delight  of  coming 
back. 

The  love  and  longing  for  one's  own  city,  town  or  village  being  so  pre- 
valent a  sentiment,  it  is  safe  to  conclude  that  in  this  great  city  of  New  York 
there  will  always  be  found  support  and  encouragement  for  a  Society,  which, 
like  that  of  the  I conophiles,  endeavors  to  preserve,  for  the  benefit  of  future 
generations,  a  pictorial  record  of  the  shifting  scenes  that  its  streets  and 
buildings  present  to  the  observer  as  the  rolling  years  pass  by. 

The  artists  who,  in  addition  to  Mr.  French,  have  given  the  Society  the 
benefit  of  their  genius,  taste  and  talent  are: 

Joseph  Pennell  Sidney  L.  Smith 

C.  F.  W.  Mielatz  Francis  S.  King 

Walter  M.  Aikman 
20 


INTRODUCTION 

A  few  years  before  his  death  the  late  Mr.  French  prepared,  at  the  re- 
quest of  the  Society,  an  account  of  his  life  and  work.  As  the  first  of  our 
designers  and  engravers,  and  in  testimony  of  our  regard  for  him  not  only  as 
an  artist  of  marked  ability  in  his  chosen  field,  but  also  as  a  man  of  a  refined 
and  gentle  personality  with  whom  it  was  a  pleasure  to  come  in  contact, 
this  autobiography  is  printed  herewith. 

William  Loring  Andrews. 


2! 


CATALOGUE  OF  THE 
ENGRAVINGS 

WITH 
HISTORICAL  NOTES 


TDK  HALLS 

<  "  TH  t  2fc 


OF  JUSTICE 
rOMBC." ' 


FIRST  SERIES 

VIEWS  OF  NEW  YORK 
Twelve  engravings  on  copper  by  Edwin  D.  French. 

Edition:  101  impressions  on  Japan  Paper,  n  of  which  are  proofs  before 
letter  signed  by  the  engraver.  Each  print  is  enclosed  in  a  wrapper 
which  bears  the  Society's  imprint  and  seal  and  a  brief  description  of  the 
subject.    Published  in  1895. 

SUBJECTS 

1  St.  Paul's  Chapel.  1895 

2  Interior  of  St.  Paul's  Chapel  (View  of  Chancel). 

3  Fraunces'  Tavern. 

4  The  Roger  Morris  House. 

5  Hamilton  Grange. 

6  St.  Mark's  Church. 

7  City  Hall. 

8  The  Halls  of  Justice  ("The  Tombs"). 

25 


THE  SOCIETY  OF  ICONOPHILES 


SUBJECTS— CONTINUED 

9    National  Academy  of  Design. 

10  St.  John's  Chapel,  Varick  Street. 

1 1  The  Murray  Hill  Distributing  Reservoir. 

12  Bowling  Green. 

NOTES 

1  St.  Paul's  Chapel.  The  oldest  church  edifice  now  standing  in  the 
city  of  New  York,  and  the  pride  and  wonder  of  the  city  in  its  day.  The 
foundation  stone  was  laid  on  May  14,  1764,  and  the  building  opened  and 
dedicated  with  elaborate  religious  and  civil  ceremonies  on  October  30, 
1766.  The  building  faced  the  Hudson  River,  which  then  came  up  to  the 
present  Greenwich  Street,  and  commanded  an  uninterrupted  view  of  the 
Jersey  shore.  The  steeple  was  not  added  until  1794.  The  architect,  Mr. 
McBean,  is  said  to  have  been  a  pupil  of  James  Gibbs,  the  architect  of  "St. 
Martin's-in-the-Fields,"  one  of  London's  fine  churches,  and  an  edifice  which 
St.  Paul's  much  resembles  in  the  interior. 

2  The  Chancel  of  St.  Paul's.  At  the  opening  ceremonies  of  St.  Paul's 
Chapel  the  sermon  was  preached  by  the  Rev.  Dr.  Samuel  Auchmuty,  Rector 
of  Trinity  Church,  and  Chaplain  to  the  Right  Hon.  William,  Earl  of  Sterling. 
When  the  city  was  occupied  by  the  British,  St.  Paul's  was  re-opened  on 
September  22,  1776,  and  a  sermon  was  preached  by  the  Rev.  Thomas  L. 
O'Beirne,  Chaplain  to  Admiral  Lord  Howe.  In  1789  George  Washington 
attended  a  service  after  his  inauguration  as  first  President  of  the  United 
States,  and  in  his  diary  for  1789  and  1790,  as  regularly  almost  as  Sunday 
comes  round,  is  the  entry,  "Went  to  St.  Paul's  Chapel  in  the  forenoon." 
The  pew  set  apart  for  his  use  was  next  the  north  wall,  midway  between 
the  chancel  and  the  vestry  room.  In  1 8 1 8  the  remains  of  General  Mont- 
gomery, killed  at  Quebec  in  1775,  were  removed  to  New  York  and  buried 
beneath  the  mural  monument  which  stands  outside  under  the  chancel  win- 
dow.   This  monument  had  been  erected  to  his  memory  in  1787,  in  accord- 

26 


CATALOGUE  OF  THE  ENGRAVINGS — FIRST  SERIES 

ance  with  an  Act  of  Congress  passed  in  1776.  It  was  made  in  France  from 
designs  by  Caffieri,  under  the  direction  of  Benjamin  Franklin,  and  shipped 
to  New  York,  during  the  Revolution,  by  way  of  North  Carolina  to  avoid 
capture  by  the  British.  In  a  letter  to  Robert  R.  Livingston,  dated  Passy, 
August  12,  1782,  Franklin  makes  the  following  reference  to  this  monu- 
ment: "...  this  puts  me  in  mind  of  a  monument  I  got  made  here,  by 
order  of  Congress  five  years  since.  I  heard  of  its  arrival  and  nothing  more. 
It  was  admired  here  for  its  elegant  antique  simplicity  of  design,  and  its 
various  beautiful  marbles." 

In  1873-74  repairs  were  made  in  the  interior  of  the  Church,  consisting  of 
new  pews,  stained-glass  windows,  new  chandeliers  and  wall  decorations. 
In  1879  the  old  pulpit  was  removed  from  the  head  of  the  centre  aisle  to  the 
north  side  of  the  choir.  The  sounding-board  over  the  pulpit  is  said  to  be 
the  only  pre-Revolutionary  relic  still  in  its  original  place  in  the  City  of  New 
York:  "when  the  patriots  went  through  the  city,  destroying  everything 
which  symbolized  our  allegiance  to  the  mother  country,  the  coat-of-arms 
of  the  Prince  of  Wales,  on  the  summit  of  this  board,  escaped  their  notice 
and  here  it  has  remained  until  the  present  time." 

3  Fraunces'  Tavern.  Until  its  recent  '  restoration  '  this  building,  at 
the  corner  of  Broad  and  Pearl  Streets,  was  one  of  the  oldest  in  New  York. 
It  was  built  by  Stephen  De  Lancey,  who  purchased  the  land  on  which  it 
stands  in  1700.  In  1762  it  passed  by  deed  to  Samuel  Fraunces,  a  native  of 
the  West  Indies,  who  here  opened  a  tavern  called  the  "Queen's  Head." 
In  1765  Fraunces  retired  from  the  enterprise  and  was  succeeded  by  John 
Jones  who  also  withdrew,  in  the  following  year,  and  was  succeeded  by 
Bolton  &  Sigell,  who  advertised  in  Holt's  New  York  Journal  of  January 
15,  1767,  that  "they  propose  to  open,  on  Monday  next,  a  Tavern  and 
Coffee  House  at  the  House  of  Mr.  Samuel  Frances  near  the  exchange.  .  .  . 
where  gentlemen  may  depend  upon  receiving  the  best  of  usage."  In  1770 
Fraunces  again  took  possession,  and  it  was  under  his  management  that  the 
house,  under  the  title  of  "Fraunces'  Tavern,"  acquired  its  celebrity.  The 
Chamber  of  Commerce  was  organized  in  the  Long  Room  of  this  tavern  in 
1768.    This  room  was  also  the  scene,  on  December  4,  1783,  of  one  of  the 

27 


THE  SOCIETY  OF  ICONOPHILES 


most  memorable  occurrences  in  the  War  of  the  Revolution — Washington's 
farewell  to  his  brother  officers.  In  1904  the  building  was  purchased  by  the 
Sons  of  the  Revolution,  and  in  1906  its  restoration,  or  rather  complete 
reconstruction,  was  begun  and  completed  in  1907  at  a  cost  of  $60,000.  It 
is  now  used  as  the  headquarters  of  the  Society. 

4  The  Roger  Morris  House,  or  Jumel  Mansion.  This  house  was 
built  about  one  hundred  and  fifty  years  ago  by  Colonel  Roger  Morris  for 
his  bride,  the  beautiful  Mary  Philipse.  On  the  keystone  of  an  arch  in  the 
main  hall  is  carved  the  date  of  its  completion,  1758.  Twenty  years  later 
the  house  was  Washington's  headquarters,  and  after  the  capture  of  the 
island  by  the  British,  it  was  occupied  by  the  Hessian  general,  Knuyphausen. 
The  property  was  sold  in  1783  under  the  Act  of  Attainder  passed  in  1779 
by  the  Legislature  of  the  State  of  New  York.  After  several  changes  of 
ownership  the  house  became  the  property  of  Stephen  Jumel,  a  French 
merchant,  by  whom  it  was  devised  to  his  widow,  the  famous  woman  whom 
Aaron  Burr  married  in  his  old  age. 

It  stands  on  a  commanding  eminence  at  St.  Nicholas  Avenue  and  One  Hun- 
dred and  Sixtieth  Street,  a  beautiful  specimen  of  Colonial  architecture.  In 
1903  the  house  was  acquired  by  the  City  of  New  York,  and  full  custody  of 
the  old  building  was  given  to  the  Daughters  of  the  American  Revolution, 
who  formally  opened  it  on  May  28,  1907. 

5  Hamilton  Grange.  Built  in  1801  by  Alexander  Hamilton,  who  oc- 
cupied it  as  a  country  seat  up  to  the  time  of  his  death,  on  July  12,  1804.  In 
front  of  it  stood  a  group  of  thirteen  gum  trees,  which  were  planted  by  Ham- 
ilton as  symbolical  of  the  thirteen  States.  The  house  was  moved  in  1889 
from  its  original  location  at  One  Hundred  and  Forty-second  Street  and  the 
old  Kingsbridge  Road  to  One  Hundred  and  Forty-first  Street  and  Convent 
Avenue,  and  is  now  used  as  the  parish  school  of  St.  Luke's  Church.  The 
exterior  remains  unchanged  and  though  many  repairs  have  been  made  in 
the  interior,  the  woodwork  and  contour  of  the  rooms  remain  the  same. 

6  St.  Mark's  Church  in  the  Bowery.  Standing  on  the  north-west 
corner  of  Tenth  Street  and  Second  Avenue,  on  the  site  of  the  private  chapel 

28 


CATALOGUE  OF  THE   ENGRAVINGS— FIRST  SERIES 

built  by  Governor  Stuyvesant,  and  in  which  his  body  was  interred.  On 
the  outer  eastern  wall  is  a  tablet  inscribed:  "In  this  vault  lies  buried 
Petrus  Stuyvesant  late  Captain  General  and  Governor  in  Chief  of  Amster- 
dam in  New  Netherland  now  called  New-York,  and  the  Dutch  West-India 
Islands  died  Feby  A.  D.  1672  aged  80  years."  The  ground  was  donated 
to  the  Episcopal  Church  in  1793,  by  Peter  Gerard  Stuyvesant,  a  great 
grandson  of  the  Governor.  The  corner-stone  of  the  present  edifice  was 
laid  April  25,  1795,  and  the  building  was  opened  for  worship  on  May  9, 
1799.  The  steeple  was  built  in  1829;  the  portico,  extending  across  the 
entire  front,  was  not  added  until  1858.  Next  to  St.  Paul's  Chapel  this 
is  the  oldest  church  edifice  in  the  city.  The  building  seen  in  the  distance 
was  erected,  and  is  still  occupied,  by  the  New  York  Historical  Society. 

7  City  Hall.  The  foundation-stone  of  this  building  was  laid  on  May 
26,  1803,  during  the  Mayoralty  of  Edward  Livingston,  and  the  building 
was  completed  in  181 2  at  a  cost  of  half  a  million  of  dollars.  At  the  time 
of  its  erection  it  was,  without  doubt,  the  finest  edifice  in  the  United  States, 
and  it  still  remains,  after  the  lapse  of  nearly  a  century,  one  of  the  most 
chaste  and  pleasing  examples  of  municipal  architecture  in  the  city.  The 
prize  of  $350  offered  by  the  Aldermen  was  won  by  designs  submitted  in  the 
name  of  John  McComb  and  his  appointment  as  architect  followed,  but 
there  is  evidence  to  show  that  credit  for  the  designs  does  not  belong  entirely 
to  him.  McComb  in  his  diary  refers  to  a  communication  in  the  Evening 
Post  "about  the  manner  Mr.  Mangin  was  treated  in  not  having  his  name 
published  as  the  principal  architect."  The  communication  referred  to  was 
a  letter  signed  "Justice,"  in  the  Evening  Post  for  June  4,  1803,  with  the 
following  editorial  introduction:  "It  is  with  extreme  regret  that  we  have 
to  record  a  transaction  so  illiberal  as  the  one  which  forms  the  subject  of 
the  following  communication.  We  should  have  given  it  a  place  sooner 
but  we  wished  first  to  make  some  inquiries  into  the  correctness  of  the  facts, 
and  we  should  now  have  suppressed  it,  had  we  not  satisfactory  reasons  to 
believe  it  is  founded  in  too  much  truth."  Joseph  F.  Mangin,  "the  real 
author  of  the  plan  of  the  New  City  Hall,"  as  he  is  called  by  "Justice,"  was  a 
French  architect  and  for  many  years  one  of  the  City  Surveyors.    The  un- 

29 


THE  SOCIETY  OF  ICONOPHILES 


published  diary  of  John  McComb,  preserved  in  the  New  York  Historical 
Society,  shows  that  he  was  an  able  administrator.  From  it  we  learn  that 
the  original  plans  called  for  brownstone  and  that  a  quarry  of  that  material 
was  leased  by  the  city  at  Newark.  It  was  McComb's  desire,  however,  to  use 
marble,  and  his  arguments  were  finally  effective  in  securing  the  use  of 
"white  stone,"  as  he  calls  it,  for  the  front  and  two  ends.  A  contract  was 
made  with  the  owners  of  a  quarry  at  West  Stockbridge,  Massachusetts,  and 
the  marble  was  drawn  across  New  York  State  to  the  Hudson  River.  All  told, 
there  were  35,271  cubic  feet  of  marble  used  at  a  cost  of  $1.06  per  cubic  foot 
delivered. 

8  The  Tombs  or  City  Prison  on  Centre  Street.  The  site  of  this 
building  was  formerly  a  fresh-water  pond,  known  as  the  Collect.  In  1805 
the  Common  Council  ordered  that  this  pond  be  drained  and  filled  in  with 
clean  earth.  The  prison,  which  was  a  good  example  of  Egyptian  architec- 
ture, was  finished  in  1838;  some  of  the  stone  used  in  its  construction  came 
from  the  old  Bridewell  in  the  City  Hall  Park.  The  Tombs  was  taken  down 
in  1897  t0  make  way  for  the  present  structure. 

9  Academy  of  Design.  The  National  Academy  of  Design  was  founded 
in  1826,  and  chartered  in  1828.  It  was  the  first  institution  in  the  country 
established  under  the  exclusive  control  and  management  of  professional  ar- 
tists, to  whom  alone,  it  was  contended,  could  Art  and  its  general  dissem- 
ination be  properly  entrusted.  The  building  here  represented  stood  on  the 
northwest  corner  of  Fourth  Avenue  and  Twenty-third  Street.  It  was  be- 
gun in  1863,  the  corner-stone  being  laid  with  appropriate  and  imposing 
ceremonies  on  October  21st  of  that  year.  The  architect  was  P.  B.  Wight, 
who  took  as  his  model  the  Doge's  Palace  in  Venice.  This  building  was 
taken  down  in  1899. 

10  St.  John's  Chapel,  Varick  Street.  Built  by  Trinity  Parish  be- 
tween 1803  and  1807  in  a  region  then  just  becoming  fashionable.  It  fronted 
a  park  known  as  Hudson  Square,  later  as  St.  John's  Park.  Watson  in  his 
Annals  of  New  York,  writing  in  1843,  says:  "  Hudson's  Square  is  a  beautiful 

30 


CATALOGUE  OF  THE  ENGRAVINGS — FIRST  SERIES 

embellishment  of  New  York,  redeemed  from  a  former  waste  The 

large  growth  of  the  trees  and  the  abundance  of  grateful  shade  make  it,  in 
connection  with  the  superiority  of  the  uniform  houses  which  surround  it, 
a  place  of  imposing  grandieur."  This  park  was  sold  in  1869  to  the  New 
York  Central  and  Hudson  River  Railroad  Co.,  and  the  church  is  now  sur- 
rounded by  tenements  and  factories. 

11  Murray  Hill  Reservoir.  In  the  olden  time  the  people  of  New  York 
obtained  their  water  from  private  wells  and  were  abundantly  supplied, 
for  Manhattan  Island  abounded  liberally  in  springs  and  water  courses.  In 
time,  however,  this  source  of  supply  became  inadequate,  and  as  early  as 
1776  a  reservoir  was  completed  by  Christopher  Colles  on  the  east  side  of 
Broadway  between  the  present  Pearl  and  White  Streets,  into  which  water 
was  to  have  been  pumped  from  wells  and  distributed  through  wooden  pipes, 
but  the  Revolution  put  an  end  to  the  scheme.  Water  from  the  Croton 
watershed  was  introduced  into  the  city  in  1842,  when  this  distributing  res- 
ervoir on  Murray  Hill,  on  the  West  side  of  Fifth  Avenue  between  Fortieth 
and  Forty-second  Streets,  was  completed.  The  water  was  first  let  into  this 
reservoir  on  July  4th,  amid  the  greatest  enthusiasm,  and  with  an  imposing 
military  and  civic  procession.  The  structure  was  of  dark  granite,  forty-four 
feet  in  height,  and  held  21,000,000  gallons.  It  was  demolished  in  1901,  to 
be  replaced  by  the  New  York  Public  Library. 

12  Bowling  Green.  Laid  out  in  1732.  In  March  of  that  year  the  City 
Fathers  "Resolved  that  this  corporation  will  lease  a  piece  of  land  lying  at  the 
lower  end  of  Broadway,  fronting  to  the  Fort,  to  some  of  the  inhabitants  of 
the  said  Broadway,  in  order  to  be  enclosed  to  make  a  Bowling-Green  thereof, 
with  walks  therein,  for  the  beauty  and  ornament  of  the  said  street,  as  well  as 
for  the  recreation  and  delight  of  the  inhabitants  of  the  city,  leaving  the 
Street  on  each  side  thereof  50  ft.  in  breadth." 

In  1 77 1  it  was  ordered:  "Whereas  the  General  Assembly  of  this  Province 
have  been  at  the  great  expense  of  sending  for  an  equestrian  statue  of  his 
present  majesty  and  erected  the  same  on  the  Bowling  Green,  before  his 
majesty's  fort  in  this  city,  and  this  Board,  conceiving  that  unless  the  said 

3' 


THE  SOCIETY  OF  ICONOPHILES 


Green  be  fenced  in,  the  same  will  very  soon  become  a  receptacle  for  all  the 
filth  and  dirt  of  the  neighborhood,  in  order  to  prevent  which,  it  is  ordered 
that  the  same  be  fenced  with  iron  rails,  in  a  stone  foundation."  This  fence 
still  surrounds  the  Green;  the  crowns  which  originally  ornamented  the  tops 
of  the  pillars  were  broken  off  when  the  statue  of  George  1 1 1  was  demolished. 
The  buildings  represented  in  the  engraving  were  originally  private  residences, 
standing  on  the  site  of  the  Government  House.  As  they  were  built  and  oc- 
cupied by  wealthy  and  distinguished  families  they  were  known  by  the  pop- 
ular name  of  "Quality  Row."  Afterwards,  from  their  occupancy,  they 
were  known  as  "Steamship  Row,"  and  were  demolished  in  1900  to  make 
way  for  the  new  Custom  House. 


32 


SECOND  SERIES 

PICTURESQUE  NEW  YORK 
Twelve  lithographs  by  Charles  F.  W.  Mielatz. 

Edition:  103  impressions,  11  of  which  are  signed  by  the  artist.  Each 
print  is  enclosed  in  a  wrapper  which  bears  the  Society's  imprint  and 
seal.    Published  in  1898. 

SUBJECTS 

1  The  Battery  and  Castle  Garden. 

2  Morningside  Park  and  St.  Luke's  Hospital. 

3  The  Aaron  Burr  House,  No.  1 1  Reade  Street. 

4  Clinton  Hall,  from  a  sketch  made  in  1889. 

5  High  Bridge. 

6  On  the  Harlem  River  at  High  Bridge. 

33 


THE  SOCIETY  OF  ICONOPHILES 

SUBJ  ECTS— CONT INUED 

7  South  Street,  from  Coenties  Slip. 

8  Oyster  Market,  near  Christopher  Street. 

9  Dutch  Reformed  Church,  Kingsbridge  Road. 

10  "  Five  Points." 

1 1  The  Poe  Cottage,  Fordham. 

12  Old  Mill,  Van  Cortlandt  Park. 

NOTES 

3  No.  1 1  Reade  Street.  Aaron  Burr  had  a  law  office  in  this  build- 
ing in  1832.  It  stood  in  close  proximity  to  the  site  of  the  Manhattan  Water- 
works which  Burr  was  active  in  promoting.  The  house  was  taken  down  in 
1899  to  make  way  for  the  new  Hall  of  Records. 

4  Clinton  Hall.  The  building  here  represented  was  the  old  Astor 
Place  Opera  House  which  was  remodelled  in  1854  for  the  Mercantile  Li- 
brary. In  1890  it  was  taken  down  and  in  its  place  was  built  the  present 
Clinton  Hall. 

9  Dutch  Reformed  Church.  Fordham  Manor  Reformed  Church  was 
organized  May,  1696;  the  first  church  was  erected  in  1706;  the  present  church, 
represented  in  the  lithograph,  was  erected  in  1849.  It  was  in  the  Valentine 
family  vault,  in  the  graveyard  of  this  church,  that  the  body  of  Virginia  Poe, 
the  poet's  wife,  was  laid,  and  where  it  remained  for  many  years  until  it  was 
removed  to  Baltimore  to  rest  beside  Poe's  body. 

10  "Five  Points."  From  a  sketch  made  by  Mr.  Mielatz  in  February, 
1884. 

1 1  Poe's  Cottage.  This  cottage  was  occupied  by  Edgar  Allan  Poe  from 
1846  to  1849.  ^  stiN  stands  at  the  corner  of  One  Hundred  and  Ninety- 
fifth  Street  and  Kingsbridge  Road,  but  was  moved  back  from  its  original 
site  about  25  feet  when  Kingsbridge  Road  was  widened.  It  was  probably 
erected  toward  the  end  of  the  eighteenth  century. 


34 


THIRD  SERIES 


EARLY  AMERICAN  PRINTERS  AND  ENGRAVERS 
Six  portraits  in  ornamental  borders,  engraved  on  copper  by  Francis  S.  King. 

Edition:  132  impressions  printed  on  India  paper,  laid  down,  11  of  which 
are  proofs  signed  by  the  engraver.  The  prints  in  this  series  are  not 
enclosed  in  wrappers.  Published  in  1 897-1 901.  Below  will  be  found 
descriptions  of  the  ornamental  borders  in  Mr.  King's  own  words. 


SUBJECTS 

1  Hugh  Gaine,  Printer  and  Bookseller. 

2  Isaiah  Thomas,  Esq.,  Printer,  Worcester,  Massachusetts. 

3  Paul  Revere. 

4  Alexander  Anderson.    The  first  engraver  on  wood  in 

America. 

5  James  Rivington,  Printer  and  Bookseller. 

6  Amos  Doolittle,  Engraver  of  the  Battles  of  Lexing- 

ton and  Concord. 


35 


THE  SOCIETY  OF  ICONOPHILES 
NOTES 

1  Hugh  Gaine.  "There  is  so  much  in  this  plate  that  I  scarcely  know 
where  to  begin.  The  'Tree  of  knowledge'  appears  growing  out  of  the 
barren  and  stony  soil  of  Gaine's  period  and  the  root  springing  from  a  skull 
suggests  life  out  of  death.  The  serpent  suggests  wisdom.  In  the  back- 
ground is  New  York.  Gaine  was  proprietor  of  'The  New  York  Mercury,' 
and  his  sign  was  a  Bible  and  a  crown,  which  are  shown  in  the  panel  at 
the  top  to  left,  together  with  an  old  hand  press  and  two  inking  balls. 
The  singing  bird  suggests  the  springtime,  and  the  general  awakening  of 
his  profession.  The  harp  his  Irish  origin.  The  female  figure  is  holding  his 
most  important  publication,  the  Journal  of  the  Votes  and  Proceedings  of  the 
General  Assembly.  This  plate  is  engraved  entirely  with  the  graver,  and 
printed  from  a  clean-wiped  plate."  The  portrait  is  after  a  painting  in  the 
possession  of  E.  H.  Butler,  Esq.,  of  Philadelphia. 

2  Isaiah  Thomas.  "An  architectural  design.  At  the  top,  in  the  center, 
appears  his  bookplate  to  which  I  have  added  more  ornament,  bearing  his 
motto:  Nec  Elatus  Nec  Dejectus.  On  the  left  is  a  figure  holding  an  old 
Roman  lamp,  symbolizing  the  antiquarian;  opposite  is  a  figure  holding  ink- 
ing pads  and  symbolizing  printing.  Below  on  the  left  is  a  bust  of  Guten- 
berg; on  the  right  one  of  Franklin,  their  names  appearing  on  ribbons  above. 
The  design  throughout  is  ornamented  with  festoons  of  ribbons  and  fruit; 
a  ram's  head  is  beneath  the  portrait.  Below  is  a  collection  of  antique  art 
objects  recalling  his  interest  in  the  subject.  It  is  a  line  engraving 
throughout  except  the  portrait  which  is  engraved  by  picking  with  the 
graver  to  imitate  a  delicate  lead-pencil  drawing.  It  will  be  interesting  to 
compare  the  treatment  of  this  portrait  with  that  of  Rivington."  The 
portrait  is  from  a  painting  by  Gilbert  Stuart.  In  the  inner  part  of  the 
frame  enclosing  the  portrait,  to  the  right,  is  the  following  inscription  in 
minute  letters:    dedicated  to  e.  b.  holden,  esq.,  by  engraver. 

3  Paul  Revere.  "The  idea  of  this  design  was  suggested  by  an  Eng- 
lish marble.    The  buds  and  stems  are  those  of  a  species  of  New  England 

36 


CATALOGUE  OF  THE  ENGRAVINGS— THIRD  SERIES 

water  lily.  On  the  top  is  an  American  Eagle  bearing  a  ribbon  on  which  is 
Revere's  motto:  Pugna  Pro  P atria.  In  the  right  upper  corner  are  the  signal 
lanterns;  on  the  left  bits  and  spurs,  suggesting  the  ride.  In  the  lower  left- 
hand  corner  are  a  bell,  crucibles,  etc.,  referring  to  his  occupation  as  a  bell 
and  general  metal  founder.  Under  the  portrait  to  the  right  are  the  im- 
plements of  his  profession  as  an  artist.  The  plate  is  engraved  through- 
out with  a  tool  such  as  is  shown  resting  on  a  palette  in  the  engraving. 
It  is  a  picked  and  line  engraving,  not  stipple."  On  the  stem  of  a  lily 
beneath  the  portrait  is  the  following  inscription  in  minute  letters:  dedi- 
cated TO  MR.  R.  H.  LAWRENCE,  BY  ENGRAVER. 

4  Alexander  Anderson.  "A  classical  design  with  an  ornamented 
head  holding  festoons  of  fruit  and  flowers  in  its  mouth.  Beneath  the  por- 
trait are  engraver's  tools.  The  plate  was  engraved  entirely  with  a 
graver  and  the  print  is  from  a  clean- wiped  plate  excepting  the  coat  on 
which  a  rag  was  used  slightly  to  make  it  richer." 

The  portrait  is  from  a  photograph  taken  in  1869. 

5  James  Rivington.  "A  modified  classical  design.  As  Rivington 
passed  part  of  his  life  in  England  and  part  in  America  I  have  introduced  the 
flags  of  both  nations.  Beneath  the  portrait  are  books  and  newspapers. 
I  would  suggest  that  it  would  be  interesting  to  compare  this  portrait  with 
that  of  Isaiah  Thomas;  in  the  Rivington  will  be  seen  the  boldest,  and  in  the 
Thomas  the  most  minute,  treatment  of  the  set.  This  print  appears  to 
its  best  when  seen  at  a  distance  of  two  feet  or  more.  It  is  all  engraved 
with  a  graver,  and  is  printed  from  a  clean-wiped  plate  excepting  the 
background  which  is  slightly  toned  with  a  rag  by  the  printer." 

The  portrait  is  based  on  the  painting  by  Gilbert  Stuart. 

6  Amos  Doolittle.  "Above  is  the  coat-of-arms  of  Connecticut,  with 
the  motto  of  the  State:  Qui  Transtulit  Sustinet.  Beneath  the  panel  bear- 
ing the  inscription  are  flags,  a  drum  and  cannon,  suggesting  the  subject  of 
his  early  engravings.  Also  a  palette  with  the  implements  of  his  profession. 
The  plate  is  engraved  throughout  with  a  graver,  and  while  the  ornamental 

37 


THE  SOCIETY  OF  ICONOPHILES 


portion  of  the  plate  is  printed  from  a  clean-wiped  plate,  the  portrait  and 
background  are  toned  with  a  soft  rag  by  the  printer,  somewhat  after  the 
method  used  in  printing  an  etching." 

The  portrait  is  from  a  water-color  painting  in  possession  of  the  New  Haven 
Colony  Historical  Society. 


38 


FOURTH  SERIES 


MEN  AND  EVENTS  CONNECTED  WITH  THE 

CITY  OF  NEW  YORK 
Six  portraits  and  views  in  decorative  borders,  engraved 
on  copper  by  Francis  S.  King. 

Edition:  120  impressions  on  Japan  paper,  11  of  which  are  proofs  before 
letter  signed  by  the  engraver.  Each  print  is  enclosed  in  a  wrapper, 
which  bears  the  Society's  imprint,  seal  and  a  brief  description  of  the 
engraving.  Nos.  1,  2,  and  3  are  accompanied  by  a  few  pages  of  text 
describing  the  events  depicted  in  the  views  beneath  the  portraits. 
Published  in  1 899-1 902. 


SUBJECTS 

1  Lafayette  and  a  View  of  his  landing  in  New  York, 

August  16,  1824. 

2  Washington  and  a  View  of  the  Evacuation  of  New 

York,  November  25,  1783. 

39 


THE  SOCIETY  OF  ICONOPHILES 


SU  B  J  ECTS— CONT INUED 

3  DeWitt  Clinton  and  a  View  of  the  Battery  at  the  time 

of  the  Erie  Canal  Celebration,  November  4,  1825. 

4  Admiral  Dewey  and  the  Arch  erected  to  celebrate  his 

arrival  in  New  York,  September,  1899. 

5  Aaron  Burr  and  a  View  of  the  Richmond  Hill  House. 

6  Alexander  Hamilton  and  a  View  of  the  Grange. 

NOTES 

1  Lafayette.  The  portrait  is  from  a  line  engraving  by  Geille,  the  head 
of  which  is  copied  quite  closely  from  the  full-length  portrait  of  Lafayette, 
painted  in  1822  by  Ary  Scheffer;  the  military  uniform  is  from  a  painting 
by  Gerard.  The  view  of  the  landing  of  Lafayette  is  from  a  drawing  by 
Imbert,  engraved  by  Samuel  Maverick.  Mr.  King  describes  the  plate  as 
follows:  "The  chief  idea  is  to  have  a  frame  in  keeping  with  the  portrait 
of  Lafayette  and  the  landing.  On  the  right  is  a  shield  bearing  a  liberty 
cap;  above  is  a  branch  of  laurel;  a  gun,  cannon-balls,  ropes,  sails,  anchor, 
etc.,  signify  our  struggle  in  a  general  way,  and  its  commercial  results.  A 
map  is  indicated  under  Lafayette's  coat-of-arms.  To  the  left  is  the 
American  Eagle,  holding  in  its  claws  arrows  and  laurel  and  resting  on  the 
American  flag.  The  mariner's  compass  suggests  Lafayette's  voyage  to 
this  country,  and  is  in  keeping  with  the  view  below.  Above  the  eagle  is 
a  palm  branch  and  the  French  and  American  flags.  Above  is  the  sun  cast- 
ing light  over  all,  with  laurel  leaf  decorations.  The  line  of  oak  leaves  at 
the  bottom  indicates  strength  and  endurance." 

2  Washington.  The  portrait  is  from  an  original  study  by  Joseph 
Wright,  now  in  the  Pennsylvania  Historical  Society.  This  portrait  was 
selected  because  it  was  doubtless  painted  at  headquarters,  Rock  Hill,  near 
Princeton,  in  October,  1 783,  a  short  time  before  the  evacuation  of  New  York. 
Although  it  is  unlike  any  other  portrait  of  Washington,  it  has  the  stamp  of 
his  approval,  for  he  commissioned  the  same  artist  to  paint  the  portrait  he 

40 


CATALOGUE  OF  THE  ENGRAVINGS— FOURTH  SERIES 


sent  to  the  Count  de  Solms,  and  also  had  Wright  paint  another  portrait  in 
1784.  William  Dunlap,  who  was  also  at  headquarters  in  October,  1783, 
thus  mentions  this  portrait  in  his  History  of  the  Arts  of  Design :  "At  this 
time  and  place  Mr.  Wright  painted  both  the  General  and  Mrs.  Washington, 
as  I  likewise  attempted  to  do.  Wright's  pictures  I  then  thought  very  like." 
The  view  of  the  evacuation  is  taken  from  the  background  of  the  full-length 
portrait  of  Washington  painted  by  John  Trumbull,  now  in  the  City  Hall, 
New  York.  Trumbull  refers  to  this  portrait  in  his  Autobiography  in  the 
following  terms:  "I  returned  in  July  (1790)  to  New  York,  where  I  was  re- 
quested to  paint  for  the  corporation  a  full-length  portrait  of  the  President 
.  .  .  In  the  background,  a  view  of  Broadway  in  ruins,  as  it  then  was,  the  old 
fort  at  the  termination;  British  ships  and  boats  leaving  the  shore  with  the 
last  of  the  officers  and  troops  of  the  evacuating  army,  and  Staten  Island  in 
the  distance.    Every  part  .  .  .  was  accurately  copied  from  the  real  objects." 

3  DeWitt  Clinton.  The  portrait  is  from  a  painting  by  Charles  C. 
Ingham,  now  in  the  possession  of  the  Century  Association. 

The  view  of  the  Battery  is  part  of  a  large  lithograph  in  Colden's  Memoir  of 
the  Erie  Canal  Celebration,  published  in  1825.  Mr.  King  describes  the  plate 
as  follows:  "The  design  as  a  whole  maybe  considered  Colonial.  The  columns 
of  staves  on  each  side  are  bound  together  by  the  usual  bands,  and  sur- 
mounted by  vase-shaped  ornaments  having  the  stars  and  stripes  decora- 
tions. In  the  centre  directly  over  the  portrait  is  the  seal  of  the  State  of 
New  York;  below  the  frame  is  an  oval  wreath  with  the  name  DeWitt 
Clinton,  with  a  palm  branch  on  one  side  and  oak  leaves  on  the  other.  Below 
on  the  right  and  left  are  the  bows  of  canal  boats, '  Erie'  and  '  Hudson,'  made 
fast  with  ropes  to  the  columns  of  staves,  suggestive  of  both  ends  of  the 
canal.  Fresh  and  salt  water  fish  in  the  waves  beneath  approaching  one 
another  are  intended  to  represent  the  'wedding  of  the  waters.'  The 
horse  shoes  on  the  lower  corners  indicate  the  propelling  power  used  on 
the  canals." 

4  Admiral  Dewey.    The  portrait  is  from  a  photograph  taken  in  1899. 
Mr.  King  describes  the  plate  as  follows:  "I  have  tried  several  times  to  de- 

4' 


THE  SOCIETY  OF  ICONOPHILES 


scribe  this  plate,  but  thus  far  have  not  succeeded  very  well.  The  design 
should  in  a  great  measure  tell  its  own  story  and  I  hope  it  does.  Of  course 
the  dolphins,  ship-blocks,  bolts,  ropes  and  guns  all  refer  to  Dewey's  pro- 
fession. The  battle  of  Manila  Bay  is  pictured  in  the  lower  left  hand  corner. 
The  picture  of  the  Arch  refers  to  his  reception  in  New  York.  These  pic- 
tures are  presided  over  by  a  figure  of  Liberty  with  outstretched  arms,  hold- 
ing a  bundle  of  arrows  over  the  sea  fight,  and  an  olive  branch  over  the  arch. 
Above  the  portrait  are  turrets  with  guns  and  draped  flags  with  the  shield  of 
the  United  States.  Over  all  is  a  'fighting-top,'  with  spars,  guns  and  smoke, 
behind  which  a  sun-burst  is  suggested.  It  is  engraved  with  a  graver  through- 
out, no  acids  or  dry  point  being  used;  many  so-called  engravings  done  now 
are,  in  great  part,  etchings." 

5  Aaron  Burr.  The  portrait  is  from  a  painting  by  John  Vanderlyn, 
now  in  the  New  York  Historical  Society.  The  view  of  "Richmond  Hill" 
is  based  on  a  print  in  the  New  York  Magazine  for  June,  1790. 

6  Alexander  Hamilton.  The  portrait  is  based  on  the  one  painted  by 
John  Trumbull,  from  life,  in  1792.  It  was  from  this  portrait  that  Trum- 
bull painted  the  picture  now  belonging  to  the  Chamber  of  Commerce  of 
New  York,  and  it  is  the  only  one  he  did  from  life.  The  view  of  "The 
Grange"  is  from  a  photograph  taken  in  1893. 


42 


FIFTH  SERIES 

FACSIMILES  OF  EARLY  ENGRAVED  VIEWS  OF  NEW  YORK 
Ten  prints  re-engraved  on  copper  by  Sidney  L.  Smith. 

Edition:  103  impressions  on  Japan  paper,  1 1  of  which  are  proofs  signed  by 
the  engraver.  Each  print  is  enclosed  in  a  wrapper  which  bears  the 
Society's  imprint  and  seal,  and  a  brief  description  of  the  engraving. 
Published  in  1899- 1903. 


SUBJECTS 

1  Federal  Hall.    The  seat  of  Congress. 

2  View  of  the  new  Dutch  Church. 

3  View  of  Columbia  College. 

4  An  East  View  of  Trinity  Church. 

5  A  View  of  the  present  seat  of  his  Excel,  the  Vice 

President  of  the  United  States. 

6  A  View  of  St.  Paul's  Church. 

7  Government  House. 

43 


THE  SOCIETY  OF  ICONOPHILES 


SU  B  J  ECTS— CONT INUED 

8  A  Perspective  View  of  the  City  Hall  in  New  York 

taken  from  Wall  Street. 

9  View  of  Belvedere  House. 

10    A  View  of  the  Battery  and  Harbor  of  New  York, 
and  the  "Ambuscade"  Frigate. 

NOTES 

i  Federal  Hall.  Reduced  from  a  rare  engraving  by  Amos  Doolittle, 
from  a  drawing  by  Peter  Lacour,  and  printed  and  sold  by  Doolittle  at  New 
Haven  in  1790.  The  original  engraving  is  12^  x  \6$4  inches,  and  represents 
the  inauguration  of  Washington  in  the  gallery  on  Wall  Street. 
The  City  Hall,  called,  after  1789,  Federal  Hall,  was  situated  at  the  head  of 
Broad  Street,  fronting  on  Wall  Street,  where  the  United  States  Sub-Treas- 
ury Building  now  stands.  It  was  erected  in  1700,  the  Common  Council  hav- 
ing, in  1698,  voted  to  build  a  new  City  Hall  for  £3,000,  and  in  1699  sold  the 
old  "Stadt  Huys"  which  stood  on  Pearl  Street,  facing  Coenties  Slip.  At 
the  new  City  Hall  were  held  the  sessions  of  the  Common  Council,  the  Pro- 
vincial Assembly,  the  Supreme  Court  and  the  Mayor  and  Admiralty  Courts. 
It  was  the  place  of  election,  and  was  also  used  as  the  City  Prison  until  1789. 
It  was  altered  to  accommodate  the  sessions  of  the  First  Congress  under  the 
Constitution,  under  the  direction  of  Major  L'Enfant,  author  of  the  original 
plan  for  the  City  of  Washington.  When  Congress  decided  to  move  the  seat 
of  the  National  Government  to  Philadelphia,  Federal  Hall  was  again  altered 
to  receive  the  Courts  and  Legislature  of  the  State.  It  was  in  the  open 
gallery  in  front  of  the  Senate  Chamber  that  Washington  was  inaugurated 
first  President  of  the  United  States,  on  April  30,  1789.  The  building  was 
taken  down  in  18 12. 

In  the  Columbian  Magazine,  for  August,  1789,  is  the  following  description 
of  Federal  Hall,  as  it  appeared  after  the  alterations  made  for  the  accommo- 
dation of  the  Federal  Legislature:  "The  basement  story  is  Tuscan,  and  is 

44 


CATALOGUE  OF  THE  ENGRAVINGS — FIFTH  SERIES 

pierced  with  seven  openings;  four  massy  pillars  in  the  centre  support  four 
Doric  Columns  and  a  pediment.  The  frieze  is  divided  to  admit  thirteen 
stars  in  the  metopes,  these,  with  the  American  Eagle  and  other  insignia  in 
the  pediment,  and  the  tablets  over  the  windows  filled  with  the  thirteen  ar- 
rows and  the  olive  branch  united,  mark  it  as  a  building  set  apart  for  na- 
tional purposes." 

2  New  or  Middle  Dutch  Church.  Reduced  from  an  engraving  by 
William  Burgess,  size,  9^  x  14  inches,  believed  to  be  unique.  This  church, 
erected  east  of  Nassau  Street,  below  Liberty  (then  Crown  Street)  was 
opened  for  service  in  1729,  and  was  known  as  the  New  Dutch  Church  to 
distinguish  it  from  the  church  in  Garden  Street,  which  was  built  in  1693. 
When  another  church  was  erected  at  the  corner  of  Fulton  and  William 
Streets  it  was  known  as  the  North,  the  Garden  Street  Church  being  desig- 
nated the  South,  and  the  one  in  Nassau  Street  as  the  Middle  Dutch  Church. 
During  the  Revolution  this  Church  was  used  first  as  a  prison,  and  after- 
wards as  a  riding-school  for  the  British  officers  and  soldiers.  The  whole  of 
the  interior  was  then  destroyed,  leaving  only  the  bare  walls  and  roof.  It 
was  not  until  1790  that  the  church  was  restored  and  re-opened  for  divine 
service.  It  was  used  as  a  place  of  worship  for  the  last  time  on  August  1 1, 
1844.  It  was  then  leased  to  the  United  States  Government,  and  was 
occupied  as  the  City  Post  Office  from  1845  t0  1875.  In  1882  it  was  taken 
down  to  make  way  for  the  building  now  occupied  by  the  Mutual  Life 
Insurance  Company. 

3  Columbia  College.  Facsimile  of  an  engraving  by  C.  Tiebout  in  the 
New  York  Magazine  for  May,  1790,  from  which  the  following  account  of  the 
College  is  taken.  "  King's  College,  in  the  City  of  New  York,  was  principally 
founded  by  the  voluntary  contributions  of  the  inhabitants  of  the  province, 
assisted  by  the  General  Assembly,  and  the  Corporation  of  Trinity  Church, 
in  the  year  1754,  a  royal  charter  being  then  obtained.  .  .  .  The  building 
(which  is  only  one  third  of  the  intended  structure)  consists  of  an  elegant 
stone  edifice,  three  complete  stories  high,  with  four  staircases,  twelve 
apartments  in  each,  a  chapel,  hall,  library,  museum,  anatomical  theatre 

45 


THE  SOCIETY  OF  ICONOPHILES 


and  a  school  for  experimental  philosophy.  All  students,  but  those  in 
Medicine,  before  the  revolution,  were  obliged  to  lodge  and  diet  in  the  col- 
lege, unless  they  were  particularly  exempted  by  the  Governors  or  Presi- 
dent, and  for  the  security  of  their  morals,  &c,  the  edifice  was  surrounded 
by  a  high  fence,  which  also  encloses  a  large  court  and  garden.  .  .  . 
The  college  is  situated  on  a  dry  gravelly  soil,  about  150  yards  from  the 
Bank  of  Hudson  River,  which  it  overlooks,  commanding  a  most  extensive 
and  beautiful  prospect.  .  .  .  King's  College  is  now  called  Columbia 
College  .  .  .  Until  the  revolution  the  College  did  not  flourish.  The  plan 
upon  which  it  was  originally  founded,  was  contracted,  and  its  situation 
unfavorable.  The  former  objection  is  removed,  but  the  latter  must 
remain." 

4  Trinity  Church.  Facsimile  of  an  engraving  by  C.  Tiebout  in  the 
New  York  Magazine  for  January,  1790.  The  following  description  of 
Trinity  Church  is  taken  from  the  same  magazine:  "Trinity  Church  was 
founded  in  the  year  1696,  in  the  reign  of  William  III,  while  Mr.  Fletcher 
was  governor  of  the  Province;  and  divine  service  was  first  performed  in  it 
on  the  6th  of  February,  1697  [March  13,  1698],  by  the  Reverend  Mr.  Vesey, 
Rector  of  the  Parish.  The  original  church  was  a  small  square  edifice, 
large  enough,  however,  to  accommodate  the  Episcopal  Congregation  till  the 
year  1735,  when  an  addition  was  made  to  the  East  end,  and  in  the  year 
1737  it  was  augmented,  on  the  north  and  south  sides,  to  the  noble  size  in 
which  it  appeared  at  the  time  of  its  destruction.  In  the  great  conflagra- 
tion of  the  City,  on  the  21st  of  September  1776,  the  Church  was  entirely 
destroyed.  The  new  Church  was  built  by  Mr.  J.  Robinson,  Carpenter,  and 
Messrs.  Moore  and  Smith,  Masons.  It  is  104  feet  long  and  72  wide,  and  the 
steeple  200  feet  high;  but  as  it  is  not  yet  completed  a  description  in  its  pres- 
ent form  would  convey  to  our  readers  but  an  imperfect  idea  of  the  whole 
edifice.  The  representation  here  given  was  drawn  from  a  view  in  Broad- 
way. The  portico  in  front,  and  the  balustrade  and  towers  at  the  foot 
of  the  spire,  were,  however,  taken  from  the  builder's  plan,  and  are  sup- 
posed to  be  pretty  correct." 

This  church  was  taken  down  in  1839,  and  the  present  church  was  begun  in 

46 


CATALOGUE  OF  THE  ENGRAVINGS— FIFTH  SERIES 

the  autumn  of  the  same  year,  but  was  not  completed  and  ready  for  conse- 
cration until  May  21,  1846. 

5  Richmond  Hill  House.  Facsimile  of  an  engraving  by  C.  Tiebout 
in  the  New  York  Magazine  for  June,  1790,  from  which  the  following 
is  extracted:  "The  annexed  plate  is  a  view  of  the  country  seat,  the 
property  of  Mrs.  Jephson,  the  present  residence  of  John  Adams,  Esq., 
Vice-President  of  the  United  States  of  America.  It  is  beautifully  situated, 
near  the  City  of  New  York,  on  the  banks  of  the  Hudson,  of  which  it  com- 
mands an  extensive  prospect.  The  venerable  oaks,  and  broken  ground, 
covered  with  wild  shrubs,  give  it  a  very  romantic  air.  This  place  was  for- 
merly the  headquarters  of  the  President  when  Commander  in  Chief  of  the 
American  army,  at  the  commencement  of  the  late  war." 
Mrs.  John  Adams  has  left  a  description  of  the  place  as  it  appeared  in  1789. 
"  In  natural  beauty,"  she  writes,  "it  might  vie  with  the  most  delicious  spot 
I  ever  saw.  It  is  a  mile  and  a  half  distant  from  the  City  of  New  York.  The 
house  stands  upon  an  eminence;  at  an  agreeable  distance  flows  the  noble 
Hudson,  bearing  upon  its  bosom  innumerable  small  vessels  laden  with  the 
fruitful  productions  of  the  adjacent  country.  Upon  my  right  hand  are 
fields  beautifully  variegated  with  grass  and  grain,  to  a  great  extent,  like 
the  valley  of  Honiton  in  Devonshire.  Upon  my  left  the  city  opens  to  view, 
intercepted  here  and  there  by  a  rising  ground  and  an  ancient  oak.  In 
front,  beyond  the  Hudson,  the  Jersey  shores  present  the  exuberance  of  a 
rich,  well-cultivated  soil.  In  the  background  is  a  large  flower-garden,  en- 
closed with  a  hedge  and  some  very  handsome  trees.  Venerable  oaks  and 
broken  ground  covered  with  wild  shrubs  surround  me,  giving  a  natural 
beauty  to  the  spot  which  is  truly  enchanting.  A  lovely  variety  of  birds 
serenade  me  morning  and  evening,  rejoicing  in  their  liberty  and  security." 
In  Valentine's  Manual  of  the  Corporation,  1852,  p.  467,  is  the  following: 
"  Richmond  Hill  House  stood  at  the  corner  of  Varick  and  Charlton  streets 
and  has  associated  with  it  many  interesting  events  of  former  days.  It 
was  occupied  during  the  Revolutionary  War  as  a  country  residence  by  Sir 
Guy  Carleton,  Lord  Dorchester,  and  several  other  distinguished  noblemen, 
and  has  been  the  scene  of  many  a  gay  party.    After  the  war  it  came  into 

47 


THE  SOCIETY  OF  ICONOPHILES 

the  possession  of  Colonel  Aaron  Burr,  who  resided  there  for  many  years 
...  It  has  since  been  used  as  a  theatre  and  public  house  and  has  been 
much  altered  of  late  years  to  adapt  it  to  modern  taste,  and  has  been  lowered 
over  twenty  feet,  to  conform  to  the  grade  of  the  surrounding  streets." 
The  Richmond  Hill  House  was  taken  down  in  1849. 

6  St.  Paul's  Chapel.  Facsimile  of  an  engraving  by  Scoles  in  the  New 
York  Magazine  for  October,  1795,  from  which  the  following  is  taken:  "The 
annexed  view  of  St.  Paul's  Church  is  very  judiciously  taken  from  the  Park, 
where  the  foliage  of  the  young  trees  embellishes  the  accuracy  of  the  design. 
This  church  was  built  about  35  years  since,  and  is  esteemed  the  most  elegant 
in  the  city.  The  front  is  an  Ionic  portico,  the  pediment  of  which  contains 
a  statue  of  St.  Paul  in  a  niche  in  the  centre;  and  the  inside  is  finished  in  the 
Corinthian  order,  with  columns  supporting  an  arched  ceiling.  The  great 
window  in  front  is  adorned  with  the  monument  erected  by  Order  of  Congress 
to  the  memory  of  General  Montgomery;  the  pulpit  and  altar  are  designed 
and  executed  with  a  remarkable  degree  of  taste,  and  the  only  imperfection 
appears  at  the  west  end,  by  the  deficiency  of  an  organ,  the  preparation  for 
which,  entrances,  etc.,  which  it  was  intended  to  conceal,  are  at  present  a 
blemish.  "The  steeple,  which  was  finished  last  year,  completes  the  external 
appearance  of  the  building;  it  is  somewhat  more  than  200  feet  high  from 
the  ground,  above  the  lower  reserve  grade  angular  section  or  story,  of  the 
Ionic  order,  with  the  proper  columns,  pilaster  and  pediments;  the  two  next 
sections  are  octangular,  of  the  Composite  and  Corinthian  orders,  supported 
by  columns  at  the  angles;  the  whole  is  crowned  with  a  spire.  The  church, 
tower  and  first  section  of  the  steeple  are  of  stone,  the  rest  is  of  wood.  As 
no  expense  has  been  spared,  and  the  several  parts  have  been  directed  by 
persons  of  taste  and  capacity,  the  structure  is  generally  esteemed  prefera- 
ble to  most  of  the  kind  in  the  United  States." 

7  Government  House.  Facsimile  of  an  engraving  by  Scoles  in  the 
New  York  Magazine  for  January,  1795.  In  the  same  magazine  is  the  fol- 
lowing description  of  the  engraving:  "Government  House  in  the  City  of 
New  York  is  erected  on  the  spot  where  Fort  George  formerly  stood,  front- 

48 


CATALOGUE  OF  THE  ENGRAVINGS — FIFTH  SERIES 

ing  Broadway.  It  was  built  by  act  of  the  Legislature,  and  intended  for  the 
residence  of  the  Governor  of  the  State.  Its  situation  in  point  of  pleasant- 
ness, is  perhaps  exceeded  by  few  in  the  United  States,  having  a  beautiful 
prospect  of  the  harbour,  of  Long  Island,  Staten  Island,  the  Jersey  Shore, 
etc.,  .  .  .  The  view  here  given  is  taken  from  the  Northwest  corner  of  the 
Battery,  near  the  end  of  Greenwich  Street,  it  exhibits  a  part  of  the  City,  and 
some  portion  of  the  Green  and  walk  on  the  Battery." 

8  City  Hall,  Wall  Street.  Reduced  from  an  engraving  by  C.  Tie- 
bout  (size,  2oS/{  x  14X  inches),  in  the  New  York  Historical  Society.  On 
the  back  of  this  print  is  the  following  inscription:  "Presented  to  the  New 
York  Historical  Society  by  John  Pintard  on  the  15th  May,  1812,  the  day  on 
which  this  building  was  prostrated,  the  materials  having  been  sold  at  Auc- 
tion to  Mr.  Jinnings  for  four  hundred  and  twenty-five  Dollars." 

The  following  is  a  list  of  the  early  engravings  of  the  City  Hall  in  Wall 
Street  as  it  appeared  after  the  alterations  made  to  accommodate  the 
Sessions  of  the  First  Congress.  While  this  building  was  the  seat  of  the 
National  Government  it  was  known  as  the  "Federal  Hall"  or  "Federal 
Edifice." 

1 —  View  of  the  Federal  Edifice  in  New  York.  S.  Hill,  Sculpt.  En- 
graved for  the  Massachusetts  Magazine,  June,  1789.  Vol.  i. 
No.  vi. 

Si%e:  7X  x  8%  inches.    In  the  Massachusetts  Magazine  for  June,  1789. 

2 —  View  of  the  Federal  Edifice  in  New  York.    Columb.  Mag. 
Size:  7X  x  7^  inches.    In  the  Columbian  Magazine  for  August,  1789. 

3 —  Perspective  View  of  the  Federal  Edifice  in  the  City  of  New 
York.    Engraved  for  the  New  York  Magazine. 

Si{e:  454  x  3^  inches.    In  the  New  York  Magazine  for  March,  1790. 

4 —  Federal  Hall.  The  Seat  of  Congress  Peter  Lacour  Delin.  A. 
Doolittle  Sculpt.  Printed  &  Sold  by  A.  Doolittle  New  Haven 
1790. 

49 


THE  SOCIETY  OF  ICONOPHILES 


Si{e:  12%  x  i6f£  inches.  Re-engraved  by  Sidney  L.  Smith  for  the 
Society  of  Iconophiles,  and  103  impressions  printed  in  October,  1899. 
Si%e:  4$4  x  6^  inches. 

5 — A  Perspective  View  of  the  City  Hall  in  New  York  taken  from 
Wall  Street.   C.  Tiebout  Delineate  &  Sculpsit. 
Si%e:  20S/&  x  14X  inches.    Re-engraved  by  Sidney  L.  Smith  for  the  So- 
ciety of  Iconophiles,  and  103  impressions  printed  in  February,  1902. 
Si^e:  6J4  x  4%  inches. 

9  Belvedere  House.  Facsimile  of  an  engraving  by  Scoles  in  the  New 
York  Magazine  for  August,  1794.  The  following  account  of  this  Club 
House  is  taken  from  the  above  magazine:  "  Belvedere  House  (an  Eastern 
view  of  which  we  have  the  pleasure  to  present  to  our  readers  in  this 
month's  Magazine)  is  situated  on  the  banks  of  the  East  River,  about 
a  quarter  of  a  mile  beyond  the  pavement  of  the  eastern  extremity 
of  the  City  of  New  York.  It  was  built  in  the  year  1792,  by  thirty-three 
gentlemen,  of  whom  the  Belvedere  Club  is  composed  .  .  .  The  ball- 
room, which  includes  the  whole  of  the  second  story  of  the  east  front,  is  an 
oblong  octagon  of  forty-five  feet  in  length,  twenty-four  wide  and  seventeen 
high,  with  a  music  gallery  .  .  .  The  windows  of  this  room  open  to  the  floor, 
and  communicate  with  a  balcony  twelve  feet  wide,  which  surrounds  the 
eastern  division  of  the  house  and  affords  a  most  delightful  promenade  .  .  . 
The  room  on  the  ground  floor  is  of  the  same  shape  and  dimensions  of  the 
ball-room,  and  is  generally  used  as  a  dinner  and  supper  room  for  large 
companies  and  public  entertainments.  The  west  division  of  the  house  is 
composed  of  two  dining  parlours,  a  bar-room,  two  card-rooms  and  a  number 
of  bed-chambers.  The  west  front  opens  into  a  small  court-yard,  flanked  on 
each  side  with  stables,  a  coach  house,  and  other  offices.  The  little  grounds 
into  which  the  east  front  opens,  are  formed  into  a  bowling-green,  gravel 
walks,  and  some  shrubbery,  in  as  handsome  a  manner  as  the  very  limited 
space  would  admit  of.  The  want  of  extensive  grounds  is,  however,  much 
compensated  for  by  the  commanding  view  which  its  situation  gives  of  the 
City  and  adjacent  country.  The  prospect  is  very  varied  and  extensive:  a 
great  part  of  the  City,  the  bay  of  New  York,  Long-Island,  the  East  River 

50 


CATALOGUE  OF  THE  ENGRAVINGS — FIFTH  SERIES 

as  far  as  Hell  Gate,  the  island  of  New  York  to  the  northward  of  the  City, 
and  a  little  of  the  North  River,  with  its  bold  and  magnificent  bank  on  the 
Jersey  side,  altogether  compose  a  scenery  which  the  vicinity  of  few  great 
cities  affords.  .  .  .  For  the  satisfaction  of  those  at  a  distance,  and  to 
account  for  the  contracted  appearance  of  the  house  in  the  plate,  it  may  be 
necessary  to  add,  that  the  view  is  taken  from  the  opposite  shore  of  Long- 
Island,  a  distance  of  more  than  a  mile." 

This  building  was  located  on  a  high  plot  of  ground  at  the  corner  of  Mont- 
gomery and  Cherry  Streets,  and  is  indicated  on  Longworth's  map  of  the 
City,  dated  1808. 

10  The  Battery  and  Harbour.  Facsimile  of  an  engraving  by  S.  Hill 
in  Drayton's  Letters  written  during  a  tour  through  the  Northern  and  Eastern 
States,  Charleston,  1794,  from  which  the  following  is  extracted: 
"We  came  opposite  the  battery;  which  is  at  the  extreme  point  of  the  town 
.  .  .  The  guns  (which  are  thirteen  in  number)  are  placed  upon  carriages 
on  a  stone  platform  en  barbette,  some  few  feet  above  the  level  of  the  water. 
Between  the  guns  and  the  water  is  a  public  walk;  made  by  a  gentle  decline 
from  the  platform:  and  going  round  the  ground  upon  which  the  battery  is 
placed.  Some  little  distance  behind  the  guns,  two  rows  of  elm  trees  are 
planted;  which  in  a  short  time  will  afford  an  agreeable  shade.  The  flag  staff 
rises  from  the  midst  of  a  stone  tower,  and  is  decorated  on  the  top  with  a 
golden  ball:  and  the  back  part  of  the  ground  is  laid  out  in  smaller  walks, 
terraces,  and  a  bowling  green. — Immediately  behind  this,  and  overlooking 
it,  is  the  government  house;  built  at  the  expense  of  the  State.  .  .  . 
"At  the  lower  end  of  Broad-way,  is  the  battery,  and  public  parade;  of  which, 
I  have  already  given  you  some  account:  and  I  now  present  you  with  a  sketch 
of  it,  as  seen  from  this  spot.  While  I  was  taking  it,  the  Ambuscade  sailed 
by,  having  a  liberty  cap  on  the  fore-top-gallant-mast  head.  I  drew  it  with 
pleasure,  hoping  that  it  would  be  an  ornament  to  the  piece:  and  I  trust 
everything,  which  brings  to  the  mind  ideas  of  social  liberty,  and  good  gov- 
ernment, will  be." 


5' 


SIXTH  SERIES 


EARLY  NEW  YORK  AUTHORS 
Two  portraits  engraved  on  copper  by  Francis  S.  King. 

Edition:  103  impressions  on  Japan  paper,  1 1  of  which  are  proofs  before  let- 
ter signed  by  the  engraver.  Each  print  is  enclosed  in  a  wrapper  bear- 
ing the  Society's  imprint  and  seal.    Published  in  1903-04. 

SUBJECTS 

1  Fitz-Greene  Halleck. 

2  Joseph  Rodman  Drake. 

NOTES 

1  Halleck.  This  portrait  is  from  an  oil  painting  by  Henry  Inman, 
which  was  painted  in  the  year  1828  for  George  P.  Morris,  and  is  now  in  the 
New  York  Historical  Societv.    Mr.  J.  G.  Wilson  says  of  Inman's  portrait 

53 


THE  SOCIETY  OF  ICONOPHILES 


that  it  is  "incomparably  the  best  ever  made  of  the  poet,  who  was  painted  by 
four  generations  of  artists — Jarves,  Inman,  Elliott  and  Hicks." 

2  Drake.  From  an  oil  painting  by  John  Paradise,  now  in  the  possession 
of  Mr.  Eckford  Craven  de  Kay.  Halleck  wrote  of  Drake  that  he  was,  per- 
haps, the  handsomest  man  in  New  York — "a  face  like  an  angel,  a  form  like 
an  Apollo,  and  his  person  was  a  true  index  of  his  mind." 


54 


SEVENTH  SERIES 


VIEWS  OF  NEW  YORK  ON  STAFFORDSHIRE  POTTERY 
Eight  aquatints  engraved  by  C.  F.  W.  Mielatz. 

Edition:  104  impressions  on  Japan  paper,  11  of  which  are  printed  in  blue 
and  signed  by  the  engraver;  the  remainder  of  the  edition  is  printed  in 
sepia.  Each  print  is  enclosed  in  a  wrapper  bearing  the  Society's  im- 
print and  seal.    Published  in  1904-06. 


SUBJECTS 

1  A  View  of  New  York  from  Fulton  Street,  Brooklyn. 

2  The  Battery,  New  York,  Esplanade  and  Castle  Garden. 

3  New  York  Alms  House,  now  Bellevue  Hospital. 

4  City  Hotel,  Broadway,  between  Thames  and  Cedar  Streets. 

5  Castle  Williams  from  the  Battery. 

6  Brooklyn  Ferry,  Fulton  Street,  New  York. 

7  St.  Paul's  Chapel  and  the  Rutherford  House. 

8  Castle  Clinton  and  the  Battery. 

55 


THE  SOCIETY  OF  ICONOPHILES 


NOTES 

About  1820  the  Staffordshire  potters  in  order  to  gain  the  American  trade 
and  overcome  the  hatred  of  all  things  English,  decorated  their  wares  with 
scenes  from  American  history,  views  of  important  American  towns,  and  well- 
known  buildings.  These  designs  were  printed  on  the  pottery  in  rich  dark 
blue  and  were  usually  copied  from  contemporary  engravings.  In  some 
cases,  however,  original  sketches  seem  to  have  been  used,  and  it  is  from  plates 
and  platters  with  New  York  views  of  this  character  that  Mr.  Mielatz  has  en- 
graved this  series  for  the  Society  of  Iconophiles. 

1  New  York  from  Brooklyn.  This  view  is  found  on  a  10-inch  plate 
made  by  Stevenson  with  the  following  inscription  printed  on  the  back: 
"New  York  from  Brooklyn  Heights,  by  W.  G.  Wall,  Esq."  The  original 
drawing  for  this  plate  was  made  by  W.  G.  Wall,  a  young  Irishman,  who 
came  to  New  York  in  18 18,  and  achieved  great  fame  from  his  water  colour 
sketches  of  American  scenery,  for  some  of  which  he  realized  as  much  as 
four  hundred  dollars.  Large  aquatints  in  colours  of  his  views  of  New 
York  from  Brooklyn  and  Weehawk  and  Hudson  River  scenes  had  a  large 
circulation. 

The  scene  on  this  plate  pictures  Fulton  Street,  Brooklyn,  near  the  present 
Brooklyn  Bridge  entrance.  The  first  steam  ferry-boat  to  Brooklyn,  the 
"Nassau,"  appears  in  the  centre  of  the  East  River. 

2  The  Battery,  New  York  Esplanade  and  Castle  Garden.  This 
view  is  found  on  a  large  platter  made  by  Stevenson,  labelled  "  Esplanade 
and  Castle  Garden,"  and  gives  an  interesting  glimpse  of  the  open  air  life 
of  eighty  years  ago.  The  title  "Esplanade"  was  that  given  to  the  central 
walk  in  the  Battery,  long  the  favorite  society  promenade.  In  the  distance 
appears  the  entrance  to  Castle  Garden.  In  the  harbor  and  to  the  left  of 
Castle  Garden  the  artist  has  inserted  a  picture  of  the  steamship  "Aetna," 
which  was  destroyed  by  the  explosion  of  her  boilers  in  1825. 

3  New  York  Alms  House,  now  Bellevue  Hospital.  This  view 
was  taken  from  a  large  platter  made  by  I.  &  W.  Ridgway.  The  predecessor 

56 


CATALOGUE  OF  THE  ENGRAVINGS— SEVENTH  SERIES 

of  the  old  Alms  House  stood  on  the  northwest  corner  of  what  is  now  the 
City  Hall  Park,  and  was  erected  in  1 79 1  from  the  proceeds  of  a  lottery 
instituted  by  the  city  fathers.  The  cornerstone  of  the  building  which 
forms  the  subject  of  the  engraving,  was  laid  in  181 1.  The  six  acres  of  land 
for  its  site  cost  522,000.  The  building  was  constructed  of  stone  taken  from 
a  quarry  in  the  neighborhood,  and  was  opened  in  18 16.  In  1848  it,  in  turn, 
became  overcrowded,  and  its  occupants  were  transferred  to  their  present 
quarters  on  Blackwell's  Island.  The  building  was  then  remodelled  and 
turned  into  a  hospital,  and  as  Bellevue  Hospital  has  served  the  city  for 
upwards  of  half  a  century. 

4  City  Hotel,  Broadway,  between  Thames  and  Cedar  Streets.  This 
view  is  from  a  nine-inch  plate  by  Stevenson,  and  gives  an  interesting  study 
of  Broadway  three-quarters  of  a  century  ago.  The  large  building  in  the 
center  of  the  scene  covers  the  block  between  Thames  and  Cedar  Streets 
(115  Broadway).  The  foundations  of  the  City  Hotel  were  laid  in  1794. 
The  building  was  completed  four  years  later.  Its  great  height,  four  sto- 
ries, made  it  a  landmark,  easily  discernible  on  all  contemporary  views  of  the 
city  from  the  water.  More  interesting  still  than  this  old  hostelry  around 
which  the  social  life  of  the  city  revolved  for  so  many  years,  is  the  street 
scene  here  depicted — the  load  of  wood,  the  saw  horse,  the  pump,  all  char- 
acteristic of  the  Knickerbocker  life  long  since  departed. 

5  Castle  Williams  from  the  Battery.  This  engraving  was  taken 
for  a  nine-inch  plate  by  Stubbs,  and  shows  us  Castle  Williams  little  changed 
in  appearance  from  the  Castle  Williams  of  to-day.  It  was  designed  in  1807 
by  Col.  Jonathan  Williams  of  the  United  States  Engineers,  and  completed 
just  before  the  War  of  181 2.  It  was  built  of  Newark  Sandstone  with  walls 
forty  feet  high  and  eight  feet  thick.  The  lower  tier  mounted  twenty-seven 
35-pounders,  and  the  upper  tier  thirty-nine  20-pounders.  In  the  foreground 
appears  a  portion  of  the  lower  end  of  the  city  with  its  shores  in  their 
natural  beauty. 

6  Brooklyn  Ferry.  Fulton  Street,  New  York,  from  a  small 
platter  by  Stevenson.    On  the  left  of  this  view  is  pictured  the  entrance  to 

57 


THE  SOCIETY  OF  ICONOPHILES 


Fulton  Market,  erected  upon  a  site  purchased  by  the  city  in  182 1.  In  the 
centre  the  "Ferry  Slips"  and  the  "Nassau,"  the  first  steam  ferry-boat 
which  ran  between  New  York  and  Brooklyn.  The  lease  of  the  privilege  of 
operation  of  this  ferry  was  purchased  by  Robert  Fulton  and  William  Cutting. 
Beekman's  slip  was  bought  by  the  city  for  a  landing  place,  and  Ferry  Street, 
now  Fulton,  was  opened  up.  The  "Nassau"  was  launched  in  181 4  and 
built  on  the  lines  of  a  catamaran:  her  motive  power  being  supplied  by  a 
large  wheel  in  the  center  between  the  two  hulls. 

7  St.  Paul's  Chapel  and  the  Rutherford  House,  from  a  six-inch 
plate  by  Stevenson.  This  picture  of  St.  Paul's  Chapel  is  from  the  south- 
east, a  different  quarter  from  that  of  other  contemporary  views.  The 
house  to  the  right  was  erected  about  1770  by  Major  Walter  Rutherford,  a 
Scotchman,  who,  on  his  retirement  from  the  royal  army,  settled  in  New 
York  and  married  Catherine  Alexander,  the  sister  of  Lord  Sterling.  Prior 
to  the  Revolution,  Broadway  only  extended  up  as  far  as  St.  Paul's,  all 
traffic  turning  off  to  the  right  to  the  Boston  Post  Road.  The  continua- 
tion, on  which  this  house  stood,  was  called  Great  George  Street.  In  1806 
the  house  was  remodelled.  It  served  as  a  store  until  John  Jacob  Astor 
erected  on  this  site  his  famous  hotel. 

8  Castle  Clinton  and  the  Battery,  on  a  large  platter  by  Enoch  Wood. 
The  series  of  aquatints  ends  with  a  view  of  the  fortification,  the  foundations  of 
which  were  laid  in  1807  upon  a  ledge  of  rocks  three  hundred  feet  distant  from 
the  shore.  The  fortress  was  completed  in  181 1,  and  was  named  the  South- 
west Battery.  In  1 816  it  was  renamed  Castle  Clinton,  after  George  Clinton, 
New  York's  distinguished  Governor.  In  the  same  year  the  Battery  was 
extended  seaward;  still  two  hundred  feet  of  the  bridge  remained.  Six  years 
later  Castle  Clinton  was  dismantled  and  ceded  back  to  the  city.  In  1824  it 
was  leased  to  one  Marsh  at  an  annual  rental  of  $1,400.  Its  top  was  decked 
over  and  made  into  a  promenade,  where,  during  the  summer,  the  Castle 
Garden  Band  played  nightly.  Tickets  of  admission  to  the  Garden,  redeem- 
able at  face  value  in  refreshments  sold  within,  were  sold  for  a  shilling  each. 


58 


EIGHTH  SERIES 

SKY-SCRAPERS  OF  NEW  YORK 
Twelve  lithographs  by  Joseph  Pennell. 

Edition:  100  impressions,  all  signed  by  the  artist.    The  set  of  twelve  being 
enclosed  in  a  cover  designed  by  Mr.  Pennell. 

SUBJECTS 

1  Battery  Park. 

2  Broadway  from  Bowling  Green. 

3  "Broadway  Towers." 

4  The  Stock  Exchange. 

5  Nassau  Street. 

6  Pine  Street. 

7  William  Street. 

59 


THE  SOCIETY  OF  ICONOPHILES 


S  U  B  J  ECTS— CONT I N  U  E  D 

8  "  Building  the  Building." 

9  "The  Flat  Iron." 

10  Union  Square. 

1 1  Broadway  above  23rd  Street. 

12  The  "Times"  Building. 


NOTES 

These  lithographs  were  drawn  by  Mr.  Pennell  when  on  a  visit  to  New  York 
in  1904,  and  are  an  interesting  expression  of  the  strong  impression  made 
upon  the  artist  by  the  "towering  piles"  of  new  New  York.  They  were 
printed  in  England  under  the  supervision  of  the  artist,  and  were  issued  by 
the  Society  in  1905. 


60 


A  VIEW  op  NEW  YOKKix  J77J 


engrauedfor  (be  SoA&^J^ciely  of  Sconopnile-t 


NINTH  SERIES 


TWELVE  VIEWS  OF  NEW  YORK,  ENGRAVED  ON  COPPER  FROM 
OIL  PAINTINGS,  WATER-COLOR  DRAWINGS  AND  RARE 

ENGRAVINGS 


Edition:  100  impressions  on  Japan  paper,  11  of  which  are  proofs  before 
letter  signed  by  the  engraver.  Each  print  is  enclosed  in  a  wrapper 
bearing  the  Society's  imprint  and  seal.  The  new  seal,  engraved  by 
Sidney  L.  Smith,  is  first  used  on  these  wrappers.   Published  in  1905-08. 


SUBJECTS 

1  A  South  East  Prospect  of  the  City  of  New  York  in  1756-57. 

2  Broadway  looking  North  at  Grand  Street. 

3  Clinton  Hall,  Nassau  and  Beekman  Streets. 

4  The  Custom  House,  New  York,  1799-1815. 

5  A  South  West  Prospect  of  the  City  of  New  York  (1806). 

6  Novum  Amsterodamum. 

7  King's  College  1756- 1784.    Columbia  College  1784- 1857. 

61 


THE  SOCIETY  OF  ICONOPHILES 


S  U  B  J  ECTS — CONTI NUED 

8  State  Street,  Nos.  16-19.    About  1864. 

9  A  View  of  New  York  in  1775. 

10  Broadway  and  Grand  Street  in  1830. 

1 1  Grace  and  Trinity  Churches. 

12  St.  Paul's  Chapel. 

NOTES 

1  A  South  East  Prospect  of  the  City  of  New  York.  Engraved  by 
Francis  S.  King,  from  an  oil  painting  presented  to  the  New  York  Historical 
Society  in  1904,  by  Miss  Cornelia  Le  Roy  White  in  the  name  of  Goldsbor- 
ough  Banyer,  who  was  a  descendant  of  the  original  owner,  of  the  same 
name.  This  painting,  which  is  60  x  37X  inches,  was  formerly  the  property 
of  Goldsborough  Banyer,  who  came  to  America  in  1737,  and  held  several 
important  public  offices  in  the  Province  of  New  York  from  1746  until  the 
termination  of  the  British  rule.  He  retired  to  Albany,  where  he  died  in 
181  5,  leaving  a  large  estate. 

The  water  front  in  this  picture  corresponds  closely  to  the  "Duyckinck" 
map,  surveyed  by  Maerschalk  and  dated  1755.  The  date  given  in  the  title 
was  fixed  by  the  late  Mr.  E.  B.  Holden,  who  wrote  in  regard  to  it  as  follows: 
"  1  made  the  date  1756-57  as  in  1756  an  English  fleet  came  in  and  probably 
brought  prizes.  Admiral  Boscowen  won  a  naval  battle  off  Newfoundland 
in  1755.  Of  the  ships  in  the  picture  at  least  one  is  a  war  ship.  Probably 
most  of  the  prizes  came  from  the  West  Indies,  and  are  merchantmen." 

2  Broadway  looking  North  at  Grand  Street.  Engraved  by  Walter 
M.  Aikman  from  an  oil  painting  by  R.  Bond,  dated  1852.  The  flag  is  at 
half  mast,  and  the  Broadway  House  draped  in  mourning  for  the  death  of 
Henry  Clay,  whose  remains  arrived  in  New  York  on  July  3,  1852.  The 
day  of  his  funeral  obsequies  was  observed  in  New  York  on  July  20th,  by  a 
great  civic  and  military  parade.  The  Broadway  House  was  the  head 
quarters  of  the  Whigs  in  the  campaign  of  1844.  After  Clay's  defeat  in 
this  election  it  lost  prestige  and  declined. 

62 


CATALOGUE  OF  THE  ENGRAVINGS— NINTH  SERIES 

3  Clinton  Hall,  Nassau  and  Beekman  Streets.  Engraved  by 
Francis  S.  King,  from  a  water-color  drawing  by  Alexander  Jackson  Davis, 
the  architect  of  the  building.  The  Clinton  Hall  Association  was  formed  in 
1828  to  erect  a  building  for  the  permanent  accommodation  of  the  Mercantile 
Library.  This  building,  at  the  corner  of  Nassau  and  Beekman  Streets,  was 
opened  November  2,  1830.  The  Mercantile  Library,  formed  in  1820  for  the 
purpose  of  affording  the  advantages  of  a  circulating  library  to  merchants' 
clerks,  was  opened  on  February  12,  1821,  in  a  room  at  49  Fulton  Street, 
with  700  volumes.  When  it  moved  into  Clinton  Hall,  in  1830,  it  had  6,000 
volumes.  Twenty  three  years  later  the  number  had  increased  to  47,000, 
and,  having  outgrown  its  accommodations,  the  Opera  House  in  Astor 
Place  was  purchased  at  a  cost  of  #140,000,  the  property  in  Nassau  Street 
being  sold  for  #100,000. 

4  The  Custom  House  [or  Government  House].  Engraved  by 
Walter  M.  Aikmanfrom  a  wash-drawing  by  William  Rollinson.  The  first 
stone  of  this  pretentious  edifice  was  laid  May  21,  1790,  the  Legislature 
having  resolved  in  1789  that  a  house  for  the  use  of  the  President  of 
the  United  States  should  be  erected  on  part  of  the  site  of  the  ancient  fort. 
It  was  of  red  brick,  two  stories  high,  with  a  portico  of  white  Ionic  columns, 
and  stood  on  an  eminence  facing  Bowling  Green.  The  designs  for  the 
front  of  this  building  were  furnished  by  John  McComb,  architect,  of  the 
City  Hall.  The  seat  of  government  having  been  removed  to  Philadelphia 
before  its  completion,  it  was  never  occupied  by  the  President,  but  for 
several  years  was  used  as  the  city  residence  of  Governors  Clinton  and  Jay. 
About  the  year  1800  it  was  converted  into  offices  for  the  Customs.  It  is 
said  to  have  been  destroyed  by  fire  in  181 5.  Its  site  was  occupied  for 
many  years  by  private  residences,  which  later  were  known  as  "Steamship 
Row."  These  were  removed  in  1900,  to  make  way  for  the  new  Custom 
House. 

5  A  South  West  Prospect  of  the  City  of  New  York.  Engraved 
by  Sidney  L.  Smith  from  a  rare  engraving  which  is  without  title  or  date. 
This  interesting  view  of  the  lower  part  of  the  city  in  the  early  part  of  the 

63 


THE  SOCIETY  OF  ICONOPHILES 

nineteenth  century  shows  the  side  of  the  Government  House,  pictured  in 
the  preceding  plate,  and  the  churn-like  structure  supporting  the  flag-staff 
on  the  west  side  of  the  Battery.  This  structure  was  taken  down  in  1825. 
The  second  Trinity  Church  is  seen  on  the  left  of  the  plate. 

6  New  Amsterdam  about  1650.  Engraved  by  Sidney  L.Smith  from 
a  painting  in  the  New  York  Historical  Society.  This  painting  was  pre- 
sented to  the  Society  in  1881  by  C.  E.  Detmold,  one  of  the  founders  of  the 
Metropolitan  Museum  of  Art,  it  having  been  purchased  in  Amsterdam  of  the 
bookseller,  Frederick  Muller.  It  is  in  an  old  carved  wood  frame,  and  is 
said  to  have  hung  in  the  Home  Office  of  the  Dutch  West  India  Company. 
The  upper  part  of  this  frame  is  reproduced  in  the  engraving  beneath  the 
view.  The  shield  to  the  left  bears  the  arms  of  the  City  of  Amsterdam.  On 
the  shield  to  the  right  is  the  Lion  of  Holland  without  the  sword  and  arrows 
in  its  paws.  The  inscription,  placed  by  the  engraver  on  the  ribbon,  is  the 
one  that  appears  on  the  bottom  of  the  painting.  Translated,  it  reads: 
"In  the  ship  Lydia  by  Laurens  Block  son  of  Herman,  in  the  year  1650." 
In  1888  Thomas  Addis  Emmet  saw  in  Muller's  shop  in  Amsterdam  another 
painting  which  was  an  exact  replica,  frame  and  all,  of  the  picture  presented 
to  the  New  York  Historical  Society  in  1881.  He  was  told  by  Muller  that 
he  had  secured  the  painting  from  an  old  teakwood  vessel  which  had 
formerly  been  in  the  Dutch  Navy  and  was  one  of  the  squadron  which  took 
New  York  from  the  English  in  1673,  and  had  been  broken  up  a  few  weeks 
before.    See  the  Magazine  of  American  History  for  January,  1890. 

7  Columbia  College,  1857.  Engraved  by  Walter  M.  Aikman  from  a 
photograph  taken  in  1857.  The  corner-stone  of  King's  College  was  laid 
August  23,  1756,  and  in  May,  1760,  the  officers  and  students  "began  to 
Lodge  and  Diet  in  it."  The  building  was  known  as  King's  College  until 
May  1,  1784,  when  the  first  act  was  passed  changing  the  name  to  Columbia 
College.  The  use  of  the  building  was  discontinued  on  May  7,  1857,  and  in 
that  year  its  demolition  was  begun.  It  stood  west  of  Broadway,  between 
Barclay  and  Murray  Streets,  and  its  grounds  originally  extended  down  to 
the  Hudson  River.    President  Myles  Cooper  describes  the  College  as  it 

64 


CATALOGUE  OF  THE  ENGRAVINGS 


— NINTH  SERIES 


existed  in  1773,  as  distant  about  one  hundred  and  fifty  yards  "from  the 
Hudson  River,  which  it  overlooks,  commanding  from  the  eminence  on 
which  it  stands  a  most  extensive  and  beautiful  prospect." 

8  State  Street,  Nos.  16-19.  Engraved  by  Walter  M.  Aikman  from 
a  photograph  taken  about  1864.  The  houses  in  this  picture  are  interesting 
examples  of  the  domestic  architecture  of  New  York  in  the  first  half  of  the 
nineteenth  century.  They  were  erected  about  1828-30  on  the  site  of  the 
old  fort,  fronting  on  the  Battery  and  back  of  the  seven  houses  facing 
Bowling  Green.  No.  18  was  occupied  in  1830  by  I.  Phillips  Phoenix. 
This  was  then  the  most  fashionable  part  of  the  city.  At  the  left  is  seen 
the  rear  of  Stephen  Whitney's  house,  No.  7  Bowling  Green,  in  its  day 
one  of  the  most  elegant  and  stately  residences  in  the  city. 

9  A  View  of  New  York  in  1775.  Engraved  by  Sidney  L.  Smith  from 
an  aquatint  in  the  Atlantic  Neptune.  The  Atlantic  Neptune,  a  collection 
of  maps  and  charts,  was  published  for  the  use  of  the  Royal  Navy  of 
Great  Britain  in  178 1.  It  consisted  of  two  elephant  folio  volumes  and  con- 
tained 1 10  colored  or  tinted  maps  and  104  views.  The  maps  include  Nova 
Scotia,  the  River  St.  Lawrence,  the  Island  of  Cape  Breton,  the  coasts  and 
harbors  of  New  England,  New  York,  Long  Island,  the  Hudson  River,  the 
coast  of  Carolina,  the  Gulf  of  Mexico;  plans  of  the  proceedings  of  the  British 
fleet  in  New  York  Harbor,  the  siege  of  Yorktown,  the  battle  of  Camden,  etc. 
In  addition  to  the  above  view  of  New  York,  it  contains  the  following  pic- 
tures of  the  vicinity  of  the  city:  Highlands  of  Naversink;  South  Shore  of 
Long  Island,  the  Entrance  to  the  North  and  East  Rivers,  the  Light  House 
on  Sandy  Hook,  and  the  Narrows  with  the  east  bluff  of  Staten  Island. 

10  Broadway  and  Grand  Street  in  1830.  Engraved  by  Walter  M. 
Aikman,  from  an  oil  painting  by  R.  Bond,  dated  1830.  As  early  as  1809  a 
public  house  stood  on  the  corner  of  Broadway  and  Grand  Street,  which 
then  and  for  many  subsequent  years  was  conducted  by  Abraham 
Davis.  This  was  afterwards  called  the  Broadway  House,  and  the  same 
premises  were  occupied  as  a  hotel  for  many  years.    In  November,  1809,  the 

65 


THE  SOCIETY  OF  ICONOPHILES 


Street  Commissioner  reported  that  Mr.  Samuel  Burling  had  offered  to 
furnish  as  many  poplar  trees  as  might  be  necessary  to  line  Broadway 
from  Leonard  to  Arch  Street  (present  Astor  Place),  provided  the  Cor- 
poration would  move  and  set  them  without  expense  to  him.  The  Com- 
missioner further  stated  that  he  had  consulted  a  number  of  property 
owners  and  found  them  exceedingly  anxious  to  accept  the  liberal  offer 
of  Mr.  Burling,  and  one  had  offered  to  cart  a  great  portion  at  his  own  ex- 
pense. It  being  concluded  by  the  corporation  that  the  arrangement  would 
"be  an  additional  beauty  to  Broadway,  the  pride  of  our  city,  and  as  the 
season  was  then  a  proper  one  for  transplanting  and  the  curbstones  were 
then  being  laid,  the  proposition  was  approved."  Valentine's  Manual  of 
the  Corporation,  1865,  p.  614. 

1 1  Grace  and  Trinity  Churches.  Engraved  by  Sidney  L.  Smith  from 
a  sepia  drawing  by  William  Strickland  in  the  New  York  Historical  Society. 
Grace  Church  was  erected  in  1809  by  a  congregation  that  had  separated 
from  Trinity  Church.  It  stood  on  the  corner  of  Broadway  and  Rector 
Street.  In  The  Picture  of  New  York,  published  in  1828,  it  is  described 
as  follows:  "It  is  a  substantial  and  neat  edifice  of  brick,  with  a  handsome 
cupola,  the  rear  of  the  building  is  of  an  elliptical  form,  with  a  terraced  gar- 
den and  the  Rector's  house.  .  .  .  Pews  in  this  Church  command  the  highest 
rents  of  any  in  the  city;  such  is  the  influence  of  fashion,  wealth  and  a  much 
beloved  and  eloquent  pastor"  [Doctor  Jonathan  M.  Wainwright]. 

This  church  was  taken  down  in  1846  when  the  present  structure  was  erected 
at  Broadway  and  Tenth  Street.  The  Trinity  Church  pictured  in  this  en- 
graving is  the  second  edifice,  completed  in  1790.  The  building  south  of 
Grace  Church,  No.  65  Broadway,  was  occupied  by  John  R.  Livingston 
from  1794  to  1816;  by  the  Branch  of  the  Bank  of  the  United  States  from 
1 8 1 7  to  1824,  when  the  bank  moved  to  the  building  erected  for  it  in  Wall 
Street,  and  which  is  now  occupied  by  the  U.  S.  Assay  office.  No.  65  Broad- 
way was  valued  in  1799  at  £4,000.    After  1825  it  was  a  boarding-house. 

12  St.  Paul's  Chapel.  Engraved  by  Sidney  L.  Smith  from  a  sepia 
drawing  by  W.  Strickland  in  the  New  York  Historical  Society.  William 

66 


CATALOGUE  OF  THE  ENGRAVINGS — NINTH  SERIES 

Strickland,  who  made  the  drawings  from  which  this  and  the  preceding 
number  were  engraved,  was  an  English  architect,  who  died  in  Nashville, 
Tennessee,  in  1856.  He  was  buried  in  the  crypt  of  the  State  Capitol  at 
Nashville,  of  which  building  he  was  the  architect.  The  date  of  these  two 
pictures  by  Strickland  can  be  placed  between  1809  and  18 13,  for  Grace 
Church  was  not  erected  until  1809,  and  John  Scoles,  whose  name  is  barely 
legible  on  the  building  opposite  St.  Paul's,  222  Broadway,  moved  to  67 
Bowery  in  1 8 14.  Scoles,  "engraver  and  bookseller,"  with  the  address 
"222  Broadway  and  27  Ann  St."  is  found  in  the  New  York  Directory 
from  1805  to  18 1 3.  His  name  appears  continuously  in  the  directories 
from  1793  to  1844.  He  was  a  mediocre  engraver  of  numerous  portraits 
and  views.  His  views  of  St.  Paul's,  Government  House,  and  Belvedere 
House  have  been  reproduced  by  the  Society  of  Iconophiles  in  Series  5. 
No.  222  Broadway  stood  on  that  part  of  Shoemakers  Pasture  bounded  by 
Broadway,  Fulton,  Nassau  and  Ann  Streets.  For  some  years  prior  to  the 
Revolution  it  was  a  public  resort  known  as  Spring  Garden.  Immediately 
preceding  the  Revolution  it  was  purchased  by  the  Sons  of  Liberty  for  their 
headquarters,  and  known  as  Hampden  Hall.  Subsequent  to  the  Revolu- 
tion its  uses  were  private  until  converted  into  a  Museum  by  John  Scudder, 
in  the  year  1830. 


67 


AUTOBIOGRAPHY 

OF 

EDWIN  DAVIS  FRENCH 

WRITTEN    FOR  THE 

SOCIETY  OF  ICONOPHILES 

IN 
1901 


AUTOBIOGRAPHY  OF  EDWIN  DAVIS  FRENCH 


I  was  born  January  19,  185 1,  in  the  village  of  North  Attleboro,  Massa- 
chusetts. My  father,  Deacon  Ebenezer  French,  was  a  carpenter  and  builder, 
an  excellent  workman,  and  a  man  of  sterling  qualities,  highly  esteemed  and 
respected  by  all  who  knew  him.  My  great-grandfather,  Ezra  French, 
fought  in  the  patriot  army  during  the  war  of  the  Revolution,  and  his  grand- 
father, John  French,  came  from  England  and  settled  in  Eastern  Massa- 
chusetts about  the  end  of  the  seventeenth  century. 

My  boyhood  was  spent  in  my  native  village,  where  I,  of  course,  attended 
the  public  schools.  I  always  had  a  fancy  for  drawing,  but  doubt  if  I  ever 
really  had  any  unusual  talent  in  that  direction.  At  the  age  of  fourteen  I 
went  to  Suffield,  Connecticut,  to  prepare  for  college,  and  two  years  later  I 
entered  the  freshman  class — the  Class  of  1870 — at  Brown  University,  in 
Providence,  R.  I.  Unfortunately,  a  breakdown  in  health  compelled  me  to 
leave  the  college  course  in  the  middle  of  the  Sophomore  year,  and  I  never 
returned  to  complete  it.  A  couple  of  years  later,  my  health  being  somewhat 
improved,  I  took  up  the  trade  of  engraving  on  silver,  an  occupation  which  I 
followed  for  nearly  twenty-five  years,  chiefly  in  the  employ  of  the  Whiting 
Company,  whose  works  were  formerly  located  in  my  native  town. 

In  1873,  I  married  Mary  Olivia,  daughter  of  the  late  Harvey  Pierce 
Brainerd,  of  Enfield,  Conn. 

In  the  year  1876,  the  Whiting  Company,  my  employers,  removed  their 
works  to  New  York  City,  whither  I  went  with  them.    Here  I  was  placed  in 

V 


THE  SOCIETY  OI-  ICONOPIIILES 


charge  of  their  engraving  department,  holding  this  position  until  I  took 
up  my  bookplate  work  in  1894. 

When  I  was  about  thirty  years  of  age  I  commenced  drawing  from  cast 
and  life  in  the  evening  classes  of  the  Art  Students'  League  of  New  York,  work- 
ing under  the  instruction  of  William  Sartain,  and  afterwards  under  Messrs. 
Geo.  de  Forest  Brush  and  F.  Edwin  Elwell.  1  was  elected  to  the  membership 
of  the  League  in  1885,  and  served  for  five  years  on  its  Board  of  Control,  at 
first  as  Treasurer,  and  afterward  as  President  of  the  League  (1889-91).  It 
was  during  my  presidency  that  the  American  Fine  Arts  Society  was  organ- 
ized, whose  work  was  the  building  and  maintenance  of  the  present  home, 
in  West  Fifty-seventh  Street,  of  the  Art  Societies  which  originated  it,  the 
Society  of  American  Artists,  the  Architectural  League,  and  the  Art  Students' 
League;  and  not  a  little  of  the  work  of  its  organization  and  promotion  fell 
to  my  share. 

It  was,  I  think,  in  the  early  part  of  1893,  that  Mrs.  French's  sister,  Miss 
Brainerd,  became  interested  in  collecting  ex-libris,  for  which  she  had  unusual 
opportunities,  being  at  the  time  a  cataloguer  in  the  Library  of  Columbia 
University,  and  she  brought  together  a  very  valuable  collection  of  old  Amer- 
ican and  European  bookplates.  I  would  say  here,  that  although  I  un- 
questionably owe  very  much  to  bookplate  collectors  as  a  class,  and  espe- 
cially to  certain  individual  collectors,  for  the  reputation  I  have  gained  as  a 
maker  of  ex-libris,  I  never  could  altogether  bring  myself  to  approve  of  the 
separation  of  a  bookplate  from  a  book,  and  feel  that  irreparable  damage  has 
been  wrought  in  public  and  private  libraries  by  the  removal  of  such  marks 
of  ownership,  often  historic,  from  so  many  of  the  older  volumes.  Miss 
Brainerd,  however,  made  this  collection  for  the  library,  with  the  knowledge 
and  consent  of  the  librarian,  adding  extensively  to  it  by  the  exchange 
of  duplicate  plates,  and  gave  it  over  to  the  Library  when  she  resigned  her 
position  there. 

I  was  naturally  interested  in  these  curious  old  bits  of  engraving,  and  in 
an  idle  hour  attempted  a  burlesque  imitation  of  an  old  plate,  a  print  of  which 
I  surreptitiously  placed  among  those  in  my  sister-in-law's  collection.  After 
puzzling  over  it  for  awhile,  she  discovered  the  fraud,  and  then  insisted  that 
I  should  engrave  a  bona-fide  bookplate  for  her  little  collection  of  books  and 

72 


AUTOBIOGRAPHY  OF  EDWIN  DAVIS  FRENCH 

for  exchanges  with  collectors.  So,  in  unemployed  hours  during  the  sum- 
mer I  completed  my  first  bookplate,  and  was  quite  agreeably  surprised  at 
the  effectiveness  of  the  proof  the  plate-printer  sent  me!  My  second  at- 
tempt was  a  plate  for  my  wife,  and  the  third  was  for  my  International- 
Language  collection  of  books,  the  inscription  being  in  Volapuk.  I  had 
been  for  several  years  much  interested  in  that  language,  had  corresponded 
in  it  with  its  adherents  in  all  parts  of  the  world,  and  had  written  and 
translated  many  articles  for  various  Volapuk  journals  in  Europe  and 
America.  As  a  result,  I  had  gathered  together  a  large  number  of  books  and 
pamphlets  in  and  relating  to  Volapuk,  and  also  much  of  the  literature  of 
other  systems  of  international  language  which  have  been  presented  with 
varying  degrees  of  success,  from  Dr.  Samenhof's  Esperanto  (which  at  one 
time  numbered  nearly  as  many  adherents  as  Volapuk)  to  such  projects  as 
Bauer's  Spelin,  all  of  which  unquestionably  had  their  good  features,  but 
never  developed  into  practical  use.  This  explanation  is  for  the  sake  of 
those  who  are  unwilling  to  take  my  Volapuk  ex-libris  seriously. 

The  following  winter,  by  the  advice  of  some  of  my  friends  of  the  Archi- 
tectural League,  I  showed  proofs  of  my  bookplate  work  at  the  annual  exhibi- 
tion of  that  Society.  In  this  way,  and  by  means  of  the  various  plates  of 
mine  which  had  found  their  way  to  collectors  of  ex-libris,  my  work  became 
gradually  known.  My  first  commission  was  from  Mr.  Beverly  Chew,  whom 
I  met  at  his  rooms  by  appointment  on  the  evening  of  January  19,  1894,  to 
learn  his  wishes  concerning  a  bookplate  for  himself.  Mr.  E.  H.  Bierstadt 
was  also  there  that  evening,  as  I  remember.  Mr.  Chew  also  entrusted  to  me 
the  engraving  of  The  Players  bookplate  from  an  exquisitely  delicate  wash- 
drawing  by  Howard  Pyle,  which  at  the  time  seemed  to  me  (and  indeed  I 
fear  it  proved  to  be)  quite  too  formidable  an  undertaking  for  a  plate- 
engraver  of  my  limited  experience.  I  think  it  was  the  same  day  that  I  met 
Dr.  Charles  E.  Clark,  of  Lynn,  Mass.,  at  the  Fifth  Avenue  Hotel,  and  agreed 
to  make  two  bookplates  for  him.  The  next  week  Mr.  S.  P.  Avery  sent  for 
me,  and  an  invitation  plate  for  the  coming  inauguration  of  a  new  wing  at  the 
Metropolitan  Museum  was  discussed.  Mr.  W.  L.  Andrews,  who  was  present, 
wanted  me  to  make  a  bookplate  for  him.  My  new  work  accumulated  so 
rapidly,  I  had  to  ask  permission  from  my  employers,  the  Whiting  Company, 

73 


THE  SOCIETY  OF  ICONOPHILES 


to  remain  away  from  the  works  until  such  time  as  I  could  finish  what  I  had 
on  hand,  which  was  readily  agreed  to,  work  being  very  scarce  in  our  depart- 
ment there.  The  decoration  of  silverware  by  means  of  engraved  ornament 
had  gone  quite  out  of  fashion,  and  there  were  only  a  few  engravers  left,  and 
they  got  work  only  a  part  of  the  time.  It  never  became  necessary  for  me 
to  return  to  my  silverware  engraving. 

During  that  year,  1894,  I  engraved  bookplates  for  Mr.  Beverly  Chew,  Dr. 
Charles  E.  Clark  (2),  a  memorial  plate  for  Mr.  Avery,  for  his  daughter's  li- 
brary, for  Mr.  W.  L.  Andrews,  Whitelaw  Reid,  M.  C.  Lefferts,  E.  H.  Bierstadt, 
C.  B.  Foote,  W.  E.  Baillie,  Henry  Blackwell,  H.  E.  Deats,  E.  B.  Holden  (2) 
and  one  for  Mrs.  Holden,  E.  R.  Holden,  J.  P.  Woodbury,  Dr.  R.  B.  Coutant, 
James  J.  Goodwin  and  Rev.  Francis  Goodwin,  of  Hartford,  Rev.  Beverley 
Warner  of  New  Orleans,  Jonathan  Godfrey,  C.  C.  Kalbfleisch,  H.  S.  Rowe, 
Miss  Lawrence  and  J.  H.  Bates;  also  for  the  Oxford  Club  of  Lynn,  the  Players, 
the  Colonial  Dames  of  America  and  the  Grolier  Club.  I  also  engraved  an 
invitation  plate  for  the  Metropolitan  Museum,  an  illustration  for  Mr. 
Andrews'  Stray  Leaf  from  the  Correspondence  of  Charles  Dickens  and  Washing- 
ton Irving,  and  his  imprimatur,  after  Millet's  Sower,  and  commenced  the  first 
engraving  published  by  the  Society  of  Iconophiles — the  exterior  view  of 
St.  Paul's  Chapel. 

The  next  year,  1895, 1  made  bookplates  for  L.  I.  Haber,  R.  S.  Mansergh 
of  Tipperary,  Ireland  (who  has  the  distinction  of  being  the  only  client  of 
mine  who  never  paid  for  plate  nor  printing),  L.  B.  Lowenstein,  A.  C.  Bern- 
heim,  E.  D.  Church,  a  memorial  plate  for  the  books  of  Mrs.  Bakewell,  C.  B. 
Alexander,  a  second  plate  for  James  J.  Goodwin,  J.  W.  Ellsworth,  a  small 
plate  for  Mr.  Chew,  H.  H.  Vail,  M.  Taylor  Pyne,  M.  P.  Clough,  H.  A.  Sherwin, 
S.  F.  Barger,  Miss  M.  G.  Messenger,  T.  M.  Osborne,  F.  E.  Marshall,  Miss 
Holden,  Percy  R.  Pyne,  and  J.  K.  Goodrich;  also  plates  for  the  Library  of 
the  Metropolitan  Museum,  with  two  electrotype  variations,  the  Champaign 
Public  Library  and  one  for  the  Club  of  Odd  Volumes  of  Boston.  I  also  en- 
graved a  plate  for  Mr.  W.  F.  Havemeyer,  after  a  design  by  Thomas  Tryon, 
one  for  Mr.  Theo.  L.  DeVinne  designed  by  G.  F.  Babb,  and  one  for  the 
Biltmore  Library  in  two  sizes,  from  Mr.  Vanderbilt's  own  design.  For  the 
Society  of  Iconophiles  I  completed  the  following  plates:  "St.  Paul's  Chapel" 

74 


AUTOBIOGRAPHY  OF  EDWIN  DAVIS  FRENCH 

—"Interior  of  St.  Paul's  Chapel"— "  Fraunces'  Tavern "—" Roger  Morris 
House,"  and  "Hamilton  Grange."  I  also  engraved  three  plates,  two 
copies  of  old  engravings  in  the  "New  York  Magazine"  and  one  from  a  recent 
photograph,  and  made  numerous  drawings  for  head-  and  tail-pieces  and 
initials  for  process  reproduction,  for  Mr.  Andrews'  Old  Booksellers  of  New 
York. 

The  following  were  the  bookplates  made  by  me  in  1896:  W.  L.  Bull, 
M.  P.  Clough,  Library  of  N.  Y.  Bar  Association,  V.  E.  Macy,  Tracy  Dows, 
two  plates  of  different  size  for  the  Yacht  Sovereign,  after  designs  by 
Thomas  Tryon,  the  E.  T.  McLaughlin  Memorial  Plate  for  Yale  University. 
Dr.  C.  A.  Herter,  A.  J.  Morgan,  Howard  Willets,  Robert  Sedgwick,  a  pre- 
sentation plate  for  Mr.  Andrews,  C.  H.  Taylor,  Jr.,  after  a  design  by  E.  B. 
Bird,  Mrs.  Borland,  Mrs.  Plummer,  another  plate  for  H.  A.  Sherwin,  the 
John  Crerar  Library,  Chicago,  the  Denver  Club,  after  a  design  by  Mrs.  Sar- 
gent, E.  R.  Lamson,  after  a  design  by  E.  H.  Garrett,  an  ex  dono  plate  for 
Miss  Messenger  and  a  small  plate  for  Mrs.  Bliss.  The  same  year  I  completed 
the  following  plates  for  the  Society  of  Iconophiles:  "St.  Mark's  Church" — 
"City  Hall"— "The  Tombs"— "Academy  of  Design"— and  "St.  John's 
Chapel."  I  also  engraved  a  large  certificate  plate  for  the  Metropolitan 
Museum,  with  three  electrotype  variations,  and  a  fac-simile  of  the  Hartgers 
Fort  Nieuw  Amsterdam  for  the  Society  of  the  Colonial  Order.  Also  a  rather 
large  invitation  card  and  admission  ticket  to  the  celebration  of  the  fiftieth 
anniversary  of  surgical  anaesthesia  at  the  Massachusetts  General  Hospital, 
after  a  design  adapted  by  B.  G.  Goodhue. 

In  the  year  1897,  I  made  bookplates  for  the  Emmett  collection  of  the 
New  York  Public  Library,  for  Mrs.  Gray,  Otto  Kahn,  Mrs.  Carnegie,  R.  H. 
McCarter,  J.  L.  Stearns,  Miss  Kingsbury  (after  design  by  Miss  Lillian  West- 
cott),  Julian  Marshall,  of  London,  The  Candidati  (a  literary  club  of  young 
women,  who  with  feminine  perversity  assumed  the  masculine  form  of  the 
name,  each  of  whom  has  an  electrotype  duplicate  inscribed  with  her  name), 
William  Connell,  Miss  Sabin,  the  Child  Memorial  Library  of  Harvard  Uni- 
versity, the  Mark  Skinner  Library  of  Manchester,  Vermont,  Paul  Lemperly, 
H.  C.  Ranney,  E.  F.  Burke,  Miss  Lefferts,  Mrs.  Hartshorne,  a  second  plate 
for  Mr.  M.  T.  Pyne,  and  the  Library  of  Princeton  University.    I  also  en- 

75 


THE  SOCIETY  OF  ICONOPHILES 


graved  on  copper,  after  the  design  of  G.  W.  Edwards,  the  bookplate  of  the 
Authors'  Club. 

For  the  Society  of  Iconophiles  I  completed  the  "  Reservoir"  and  "  Bowl- 
ing Green"  plates,  concluding  the  first  series  of  twelve  plates  issued  by  that 
Society,  and  also  engraved  for  Mr.  Andrews  the  copy,  after  Hill,  of  Drayton's 
"View  of  the  Battery  and  Harbour  of  New  York,"  used  as  a  frontispiece  to 
his  Journey  of  the  Iconophiles.  1  also  engraved  the  head-  and  tail-pieces 
and  initials  for  Mr.  Andrews'  book,  New  Amsterdam,  New  Orange  and 
New  York,  and  a  copy  of  the  Montanus  engraving  of  Novum  Amsterodamum 
for  the  New  York  Chapter  of  the  Colonial  Order.  Another  plate,  a  view  of 
Harvard  University,  for  a  Lowell  Bibliography  never  published,  was  en- 
graved by  me  in  1897.  It  was  during  this  year  that  my  health  began  to 
fail,  and  I  was  advised  by  my  physician  to  spend  some  time  in  the  Adiron- 
dacks.  I  came  to  Saranac  Lake  in  August  (1897),  and  the  following  year 
built  my  cottage  here,  which  has  been  my  home  since  that  time. 

The  list  of  bookplates  engraved  by  me  in  1898  is  as  follows:  Mrs.  Samp- 
son, Abraham  Goldsmith,  G.  A.  Armour,  A.  D.  Stratton,  Dr.  S.  W.  Lambert, 
Barrett  Wendell,  Dr.  Cushing,  the  Vassar  College  Historical  Society,  S.  S. 
Sherwood,  the  Burrill  Collection  of  the  New  York  Bar  Association,  H.  R. 
Winthrop,  J.  A.  Goldsmith,  the  Twentieth  Century  Club  of  Buffalo,  F.  W. 
VanWagenen,  Mrs.  Harold  Brown,  J.  S.  Cox,  E.  P.  Williams,  Mrs.  Thorne, 
Mrs.  Nimick,  J.  E.  Scripps,  Arnold  Wood,  Dr.  C.  L.  Dana  (after  design  by 
Kay  Womrath)  and  Mrs.  Prescott.  I  also  copied  for  the  New  York  Chapter 
of  the  Colonial  Order  the  engraving  of  Neu  Jorck  five  Neu  Amsterdam  from 
the  map  of  Mathew  Seutter. 

In  1899,  I  engraved  bookplates  for  Prof.  S.  E.  Bradshaw,  the  Stickney 
Collection  of  the  Chicago  Historical  Society,  J.  F.  Talmage,  E.  C.  Gale,  Mrs. 
Wood,  Mrs.  Moore,  H.  R.  Sedgwick,  E.  L.  Boas,  C.  D.  Allen,  G.  V.  W.  Dur- 
yee,  A(rnold)  W(ood),  Mr.  Cushing,  J.  S.  Williams,  H(enry)  B(lackwell) 
and  Mrs.  Mackay.  I  also  engraved  a  title  page  for  Mr.  Andrews'  Trio  of 
French  Engravers  of  the  Eighteenth  Century,  and  a  facsimile  from  the  Popple 
Map  of  an  engraving  of  New  York  in  1733.  Much  of  the  time  during  the 
early  part  of  this  year  I  was  prevented  from  working  by  serious  illness. 
The  winter  of  1899-1900,  I  spent  in  the  South. 

76 


AUTOBIOGRAPHY  OF  EDWIN  DAVIS  FRENCH 

In  1900,  commencing  my  work  in  Atlanta,  Ga.,  continuing  it  in  San  An- 
tonio, Texas,  and  returning  to  Saranac  Lake  in  May,  I  engraved  bookplates 
for  Miss  Horsford,  Henry  Blackwell  (presentation  plate),  Miss  Messenger,  the 
Treadwell  Library  of  the  Massachusetts  General  Hospital  (after  design  by 
E.  G.  Goodhue),  an  Authors'  Autograph  plate  for  Paul  Lemperly,  the  Uni- 
versity Club,  Cleveland,  Maj.  R.  E.  Hopkins,  Miss  Cheney,  the  Union  League 
Club,  New  York,  C.  L.  F.  Robinson,  J.  R.  Livermore,  N.  T.  Porter,  Jr., 
Silas  Wodell,  N.  Y.  Yacht  Club,  Dr.  W.  B.  James,  Miss  Salmon,  J.  H.  Buck 
(design  by  Miss  Marian  Buck),  Miss  Chamberlain,  Mrs.  Foot,  J.  W.  Loveland, 
Miss  Alexander,  J.  W.  Bullock,  and  A.  W.  Little. 

The  list  continues  to  the  present  time:  J.  B.  Lamer,  S.  W.  Woodward, 
Miss  Ruth  Adams,  two  plates  after  the  same  design  by  Thomas  Tryon  for 
the  Yacht  Sovereign,  previously  mentioned,  adapted  for  M.  C.  D.  Borden, 
and  Mrs.  Whitin.  For  the  New  York  Chapter  of  the  Colonial  Order  I 
made  a  copy  of  an  old  engraving  representing  New  York  at  the  time  of  the 
Revolutionary  War.  I  also  designed  and  engraved  a  title  page  for  Arnold 
Wood's  Bibliography  of  the  Complete  Angler.  A  Certificate  of  Membership 
plate  for  the  Society  of  Iconophiles  was  also  commenced  and  dated  in  1900, 
and  completed  early  the  following  year. 

Many  of  the  bookplates  in  the  foregoing  list  are  extremely  unsatisfactory 
to  me.  In  the  case  of  two  or  three  there  is  the  excuse  that  they  were  un- 
dertaken for  a  very  low  price,  which  of  course  explains  lack  of  elaboration, 
but  does  not  excuse  slovenly  work.  I  trust  that  some  improvement  has 
been  shown,  and  hope,  if  I  live  and  have  a  reasonable  degree  of  health  and 
strength  to  accomplish  better  work  in  the  future.  For  what  improvement 
I  have  attained  to,  I  am  largely  indebted  to  the  encouragement  afforded  to 
me  by  the  Society  of  Iconophiles  and  its  individual  members. 

E.  D.  French. 

Saranac  Lake,  N.  Y., 
May  26,  1 90 1 . 


77 


LIST  OF  MEMBERS 


OFFICERS 

president 
William  Loring  Andrews 

secretary  and  treasurer 
Richard  Hoe  Lawrence 


ACTIVE  MEMBERS 


Wm.  Loring  Andrews 
Beverly  Chew 
Tracy  Dows 
R.  T.  H.  Halsey 
Wm.  F.  Havemeyer 


R.  H.  Lawrence 
M.  C.  Lefferts 
J.  S.  Morgan 
Charles  A.  Munn 
J.  Harsen  Purdy 


ASSOCIATE  MEMBERS 


Edward  D.  Adams 
George  A.  Armour 
Collin  Armstrong 
Samuel  P.  Avery 
Ezra  H.  Baker 


Allan  C.  Bakewell 
W.  K.  Bixby 
W.  M.  Bullivant 
William  Bunker 
J.  Caldwell 
81 


THE  SOCIETY  OF  ICONOPHILES 


ASSOCIATE  MEMBERS— CONTINUED 


H.  H.  Cammann 
Charles  W.  Carpenter 
J.  H.  Cohen 
Harris  D.  Colt 
J.  C.  Davies 
Carroll  Dunham 
J.  W.  Ellsworth 
Amos  F.  Eno 
W.  B.  Osgood  Field 

G.  S.  Goodrich 
John  Gribbel 

H.  H.  Harper 
Robert  Hartshorne 
C.  A.  Herter 
Richard  M.  Hoe 

S.  V.  Hoffman 
A.  M.  Hudnut 
Archer  M.  Huntington 
F.  W.  Jackson 
Robert Jaffray 


A.  H.  Joline 
C.  C.  Kalbfleisch 
E.  G.  Kennedy 
S.  W.  Lambert 
Charles  W.  McAlpin 
J.  M.  Montgomery 
H.H.Neill 
N.  Y.  Historical  Soci 
H.  Peirce 
H.  W.  Poor 
James T.  Pyle 
M.  Taylor  Pyne 
A.  H.  Scribner 
E.  W. Sheldon 
W.  G.  Shillaber 
Henry  F.  Tapley 
C.  H.  Taylor,  Jr. 
Roderick  Terry 
John  P.  Woodbury 
Samuel  Woolverton 


82 


INDEX 


INDEX 


PAGE  PAGE 

Academy  of  Design  .     .     .  26,  30  Castle  Garden   .     .  33,  55,  56,  58 

Alms  House      .     .     .     .  55,  56  Castle  Williams .     .     .     .55,  =57 

"Ambuscade"  Frigate  .     .  44,  51  Century  Association      .     .  .13 

Anderson,    Alexander,    por-  City  Hall  in  Park  .     .     .25,  29 

trait  35,  37  City  Hall  in  Wall  Street.  43,  44,  49 

Astor  Place  Opera  House      .     .  34    City  Hotel  55,  57 

"Atlantic  Neptune"      .     .     .65    City  Prison  30 

Banyer,  Goldsborough  .     .     .62  Clay,  Henry,  obsequies  .     .  .62 

Battery   33,  44,  49,  51,  55,  56,  58  Clinton,  DeWitt,  portrait     .  40,  41 

59,  65  Clinton  Hall,  Astor  Place  33,  34,  63 

Bellevue  Hospital    .     .     .55,  56  Clinton  Hall,  Nassau  Street.  61,  63 

Belvedere  Club  House   .  13,44,  5°  Clubs  in  New  York  .     .     .  .13 

Bowling  Green  .     .  26,  31,  63,  65  Colles,  Christopher  .     .     .  .31 

Bradford  Club  15  Columbia  College     .43,  45,  61,  64 

Broadway,  No.  1     ....  41  Custom  House  .  32,  43,  48,  61,  63 

Broadway,  No.  65  .     .     .     .66  Dewey,  Admiral,  portrait    .  40,  41 

Broadway  from  Bowling  Green  .  59  Dewey  Arch     .     .     .     .  40,  42 

Broadway  and  Grand  Street  61,  62  Doolittle,  Amos,  portrait     .  35,  37 

65  Drake,  Joseph  Rodman,  por- 

Broadway  above  Twenty-third  trait  53,  54 

Street  60  Dutch    Reformed  Church, 

Broadway  House     .     .     .62,  65  Kingsbridge  Road  .     .  .34 

Brooklyn  Ferry.     .     .     .55,  57  Erie  Canal  Celebration  .     .  40,  41 

Burr,  Aaron      .  28,  34,  40,  42,  48  Evacuation  of  New  York  .  39,  41 

Burr,  Aaron,  portrait     .     .  40,  42  Federal  Hall      .     .     .43,  44,  49 

Castle  Clinton   .     .     .     .515,  58    "Five  Points"  34 

85 


INDEX 


"Flat  Iron"  Building 

PAGE 
.  DO 

New  York,  South  East  Pros- 

1 

'AGE 

Fordham    Manor  Reformed 

pect   

61, 

62 

Church .     .  . 

2/t 

34 

New  York,  South  West  Pros- 

Fort George 

4° 

pect   

61, 

63 

Fraunces'  Tavern 

zl> 

on 

New  York  from  Fulton  Street, 

Fulton  Street  . 

r  r 

55> 

57 

Brooklyn  . 

55' 

56 

Gaine,  Hugh,  portrait 

35' 

30 

New  York  Historical  Society  . 

29 

Government  House  32 

.  43- 

a8 

4°> 

61 

Oyster  Market  .... 

34 

63,  64 

59 

Grace  Church  . 

\JZ  r 

34 

Grand  Street  and  Broadway  . 

6l 

6"? 

Portraits: 

65 

Anderson,  Alexander  . 

35' 

37 

Grolier  Club 

'4 

Burr,  Aaron  . 

40, 

42 

Halleck,  Fitz-Greene, 

por- 

Clinton,  DeWitt  . 

40,  41 

trait  . 

53 

Dewey,  Admiral  . 

40,  41 

Halls  of  Justice . 

ZJ> 

3U 

Doolittle,  Amos  . 

35' 

37 

Hamilton,  Alexander, 

por- 

Drake,  Joseph  Rodman  . 

53' 

54 

trait  . 

AC\ 

4^ 

Gaine,  Hugh  . 

35' 

3fi 

Hamilton  Grange    .  25,  28, 

ACt 

Halleck,  Fitz-Greene  . 

53 

Harlem  River  . 

33 

Hamilton,  Alexander  . 

40, 

42 

High  Bridge 

33 

Lafayette  . 

39' 

40 

Hudson  Square  . 

3° 

Revere,  Paul  . 

35' 

36 

Jumel  Mansion  . 

z7> 

28 

Rivington,  James . 

35. 

37 

King's  College  . 

•  45' 

6l 

6/1 

Thomas,  Isaiah  . 

35' 

36 

Lafayette,  portrait  . 

2  C\ 

39' 

/in 

Washington  .     .     .  . 

39- 

40 

Livingston,  John  R. 

66 

Reade  Street,  No.  11 

33- 

34 

McComb,  John  . 

.  29, 

3°' 

62 

u3 

Reservoir  on  Murray  Hill 

26, 

31 

Mercantile  Library  . 

34» 

62 
03 

Revere,  Paul,  portrait  . 

35' 

36 

Middle  Dutch  Church 

43» 

45 

Richmond  Hill  House  40,  42, 

43' 

47 

Montgomery  Monument 

06 

Rivington,  James,  portrait  . 

35' 

37 

Morningside  Park  . 

Rutherford  House  . 

55' 

58 

Morris  House 

25. 

28 

St.  John's  Chapel 

26,  30 

Murray  Hill  Reservoir 

26, 

31 

St.  John's  Park .     .     .  . 

30 

"Nassau,"  ferry-boat 

56, 

58 

St.  Luke's  Hospital  . 

33 

Nassau  Street  . 

59 

St.  Mark's  Church  . 

25. 

28 

New  Amsterdam  about  1 

650 . 

61, 

64 

St.  Paul's  Chapel  25,  26,  29, 

43' 

48 

New  Dutch  Church  . 

43' 

45 

55,  58,  62,  66 

New  York  in  1775  . 

62, 

65 

67 

86 


INDEX 


PAGE  PAGE 

Seals  of  the  Society  .     6,  7,  13,  15  Trinity  Church  .     .43,  46,  62,  66 

South  Street  34    Union  Club  13 

Staffordshire  Pottery     .     .  55,  56  Union  League  Club  .     .     .  .13 

State  Street,  Nos.  16-19.     .  62,  65    Union  Square  60 

Stock  Exchange      .     .     .     .59  United  States  Branch  Bank  .     .  66 

Strickland,  William  .     .     .66,  67  University  Club.     .     .     .  13,  14 

Stuyvesant  Vault    .     .     .     .29  Van  Courtlandt  Park     .     .  .34 

Thomas,  Isaiah,  portrait      .  35,  36  Washington,  portrait     .     .  39,  40 

"Times"  Building  .     .     .     .60  Whitney,  Stephen    .     .     .  .65 

"Tombs"  25,  30    William  Street  59 


87 


